SpringBoard

English Language Arts

Grade

inspiring minds
TM
ABOUT THE COLLEGE BOARD
The College Board is a mission-driven not-for-profit organization that connects students to college
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ISBN: 1-4573-0220-9
ISBN: 978-1-4573-0220-6

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ii SpringBoard® English Language Arts Grade 8

ACKNOWLEDGMENTS
The College Board gratefully acknowledges the outstanding work of the classroom teachers and
writers who have been integral to the development of this revised program. The end product is
testimony to their expertise, understanding of student learning needs, and dedication to rigorous
and accessible English Language Arts instruction.

Pat Bishop Julie Manley

Writing Coach (Retired) English Teacher
Hillsborough Schools Bellevue School District 405
Tampa, Florida Bellevue, Washington

Susie Challancin Le’Andra Myers

English Teacher English Teacher
Bellevue School District 405 Pasco School District
Bellevue, Washington Pasco, Washington

Bryant Crisp Stephanie Sharpe

English Teacher English Teacher
Charlotte Mecklenburg Schools Hillsborough Schools
Charlotte, North Carolina Tampa, Florida

Paul DeMaret Susan Van Doren

English Teacher English Teacher
Poudre School District Douglas County School District
Fort Collins, Colorado Minden, Nevada

Michelle Lewis
Curriculum Coordinator
Spokane Public Schools
Spokane, Washington

SPRINGBOARD ENGLISH LANGUAGE ARTS DEVELOPMENT

Betty Barnett Doug Waugh
Executive Director Senior Director
Content Development Product Management

Joely Negedly Nina Wooldridge

Instructional Specialist Senior Director
Professional Development
JoEllen Victoreen
Senior Instructional Specialist

Acknowledgments iii
RESEARCH AND PLANNING ADVISORS
We also wish to thank the members of our SpringBoard Advisory Council and the many
educators who gave generously of their time and their ideas as we conducted research
for both the print and online programs. Your suggestions and reactions to ideas helped
immeasurably as we planned the revisions. We gratefully acknowledge the teachers and
administrators in the following districts.

ABC Unified Hobbs Municipal Schools Quakertown Community School

Cerritos, California Hobbs, New Mexico District
Quakertown, Pennsylvania
Albuquerque Public Schools Houston Independent School District
Albuquerque, New Mexico Houston, Texas Rio Rancho Public Schools
Rio Rancho, New Mexico
Amarillo School District Irving Independent School District
Amarillo, Texas Irving, Texas Ronan School District
Ronan, Montana
Bellevue School District 405 Kenton County School District
Bellevue, Washington Fort Wright, Kentucky St. Vrain School District
Longmont, Colorado
Broward County Public Schools Lee County Public Schools
Ft. Lauderdale, Florida Fort Myers, Florida Scottsdale Public Schools
Phoenix, Arizona
Clark County School District Newton County Schools
Las Vegas, Nevada Covington, Georgia Seminole County Public Schools
Sanford, Florida
District School Board of Collier Noblesville Schools
County Noblesville, Indiana Southwest ISD
Collier County, Florida San Antonio, Texas
Oakland Unified School District
Denver Public Schools Oakland, California Spokane Public Schools
Denver, Colorado Spokane, Washington
Orange County Public Schools
Frisco ISD Orlando, Florida Spring ISD
Frisco, Texas Houston, Texas
School District of Palm Beach County
Garland ISD Palm Beach, Florida Volusia County Schools
Garland, Texas DeLand, Florida
Peninsula School District
Gilbert Unified School District Gig Harbor, Washington
Gilbert, Arizona
Polk County Public Schools
Grand Prairie ISD Bartow, Florida
Grand Prairie, Texas

Hillsborough County Public Schools

Tampa, Florida

iv SpringBoard® English Language Arts Grade 8

 Contents
GRADE

8
To the Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix

Unit 1 The Challenge of Heroism

Activities
1.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1.2 Understanding Challenges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1.3 Opening with Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Novel: Excerpt from A Wrinkle in Time by Madeleine L’Engle
1.4 Visual Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1.5 Understanding the Hero’s Journey Archetype . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.6 The Departure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Short Story: “The Drummer Boy of Shiloh” by Ray Bradbury
1.7 The Initiation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Narrative Poetry: From the Odyssey, by Homer
1.8 Language and Writer’s Craft: Revising and Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
1.9 The Return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Novel: Excerpt from A Wrinkle in Time, by Madeleine L’Engle
Embedded Assessment 1: Writing a Hero’s Journey Narrative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
1.10 Previewing Embedded Assessment 2 and the Definition Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
1.11 The Nuance of Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
1.12 Physical and Emotional Challenges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Introducing the Strategy: TP-CASTT
Poetry: “A Man,” by Nina Cassian
Article: “Soldier home after losing his leg in Afghanistan,” by Gale Fiege
Introducing the Strategy: Free Writing
1.13 Definition Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Poetry: “Sonnet 116,” by William Shakespeare
© 2014 College Board. All rights reserved.

Article: “Where I Find My Heroes,” by Oliver Stone from McCall’s Magazine

1.14 Historical Heroes: Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Poetry: “O Captain! My Captain!” by Walt Whitman
Sermon: Excerpt from White House Funeral Sermon for Abraham Lincoln, by Dr. Phineas D. Gurley
Poetry: “Frederick Douglass,” by Robert Hayden
Autobiography: Excerpt from The Narrative of the Life of Frederick Douglass, an American Slave,
by Frederick Douglass
1.15 Language and Writer’s Craft: Transitions and Quotations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
1.16 Negation Strategy of Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Essay: “A Definition of a Gentleman,” by John Henry Newman
1.17 Expository Writing Focus: Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Embedded Assessment 2: Writing a Definition Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Contents v
CONTENTS
continued

Unit 2 The Challenge of Utopia

Activities
2.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
2.2 Expository Writing: Compare/Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Essay: “Grant and Lee: A Study in Contrasts,” by Bruce Catton
2.3 Utopian Ideals and Dystopian Reality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Short Story: “Harrison Bergeron,” by Kurt Vonnegut, Jr.
2.4 Understanding a Society’s Way of Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
*Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray Bradbury
2.5 Contemplating Conflicting Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
*Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray Bradbury
2.6 Questioning Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
*Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray Bradbury
Article: “Banned Books Week: Celebrating the Freedom to Read”
from the American Library Association
Introducing the Strategy: Socratic Seminar
Introducing the Strategy: Fishbowl
2.7 A Shift in Perspective: Beginning the Adventure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
*Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray Bradbury
2.8 Navigating the Road of Trials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
*Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray Bradbury
2.9 The End of the Journey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
*Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray Bradbury
Embedded Assessment 1: Writing an Expository Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
2.10 Previewing Embedded Assessment 2 and Effective Argumentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
2.11 Understanding Elements of Argumentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
2.12 Don’t Hate—Debate! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

© 2014 College Board. All rights reserved.

2.13 Highlighting Logos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Introducing the Strategy: Debate
Article: “Parents Share Son’s Fatal Text Message to Warn Against Texting & Driving,” from
the Associated Press
Article: “The Science Behind Distracted Driving,” from KUTV Austin
2.14 Forming and Supporting a Debatable Claim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
2.15 Conducting Effective Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Article: “How the Brain Reacts,” by Marcel Just and Tim Keller
2.16 Gathering and Citing Evidence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Article: “Cellphones and driving: As dangerous as we think?” by Matthew Walberg
2.17 Organizing and Revising Your Argument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Embedded Assessment 2: Writing an Argumentative Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

vi SpringBoard® English Language Arts Grade 8

 CONTENTS
continued

Unit 3 The Challenge to Make a Difference

Activities
3.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
3.2 Collaborating to Preview Holocaust Narratives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
3.3 Understanding Literature Circle Discussions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
3.4 Making Thematic Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Memoir: Excerpt from Night, by Elie Wiesel
Poetry: “First They Came for the Communists,” by Martin Niemöller
3.5 Analyzing an Allegory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
*Children’s Book: Terrible Things: An Allegory of the Holocaust, by Eve Bunting
3.6 Dangerous Diction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
3.7 Exploring the Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
3.8 Presenting Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
3.9 Finding Light in Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
*Film: Life Is Beautiful, directed by Roberto Benigni
3.10 Dramatic Tone Shifts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Drama: Excerpt from The Diary of Anne Frank, by Frances Goodrich and Albert Hackett
3.11 The Wrong Side of the Fence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Fiction: Excerpt from The Boy in the Striped Pajamas, by John Boyne
3.12 Creating a Memorable Opening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Diary: Excerpt from The Diary of a Young Girl, by Anne Frank
Embedded Assessment 1: Presenting Voices of the Holocaust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
3.13 Previewing Embedded Assessment 2 and Looking at Multimedia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
3.14 Making a Difference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
3.15 Never Forget, Never Again . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Speech: Excerpt from Elie Wiesel’s Nobel Peace Prize Acceptance Speech
© 2014 College Board. All rights reserved.

Introducing the Strategy: SOAPSTone

3.16 Students Taking Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Informational Text: from Do Something! A Handbook for Young Activists
3.17 From Vision to Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Informational Text: “Wangari Maathai,” from BBC News
Informational Text: About Freerice.com
3.18 Examining Media Campaigns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Informational Text: Public Service Announcements
Informational Text: Free Rice Online Quiz Game
*Public Service Announcements (Non-print, available online)
3.19 Raising Awareness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Article: “Famine as a Weapon: It’s Time to Stop Starvation in Sudan,” by George
Clooney and John Prendergast
Embedded Assessment 2: Presenting a Multimedia Campaign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Contents vii
CONTENTS
continued

Unit 4 The Challenge of Comedy

Activities
4.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
4.2 Understanding the Complexity of Humor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Essay: “Made You Laugh,” by Marc Tyler Nobleman
4.3 Classifying Comedy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Introducing the Strategy: RAFT
4.4 Humorous Anecdotes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Essay: Excerpt from Brothers by Jon Scieszka
Introducing the Strategy: TWIST
4.5 Finding Truth in Comedy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Essay: “I've got a few pet peeves about sea creatures,” by Dave Barry
4.6 Satirical Humor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Online Article: “Underfunded Schools Forced To Cut Past Tense From
Language Programs,” from The Onion
4.7 Elements of Humor: Comic Characters and Caricatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Short Story: “The Open Window,” by Saki
4.8 Elements of Humor: Comic Situations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Novel: “A Day’s Work” from The Adventures of Tom Sawyer, by Mark Twain
4.9 Elements of Humor: Hyperbole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Poetry: “They Have Yarns,” by Carl Sandburg
Poetry: “Mooses,” by Ted Hughes
4.10 Elements of Humor: Comic Wordplay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Poetry: “Is Traffic Jam Delectable?” by Jack Prelutsky
4.11 Planning and Revising an Analysis of a Humorous Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Student Expository Essay: “The Power of Pets,” by Isha Sharma
Embedded Assessment 1: Writing an Analysis of a Humorous Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

© 2014 College Board. All rights reserved.

4.12 Previewing Embedded Assessment 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
4.13 Creating Context for Shakespearean Comedy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
4.14 Insulting Language. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
4.15 A Guided Reading of a Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Drama: Excerpt from A Midsummer Night’s Dream, by William Shakespeare
4.16 Acting Companies and Collaborative Close Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
*Drama: Excerpts from A Midsummer Night’s Dream, by William Shakespeare
4.17 Facing the Challenge of Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Informational Text: Adapted from “Fearbusters—10 Tips to Overcome Stage Fright,” by Gary Guwe
4.18 Working with Acting Companies and Focus Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
4.19 Same Text, Different Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
*Film: A Midsummer Night’s Dream
4.20 Dress Rehearsal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Embedded Assessment 2: Performing Shakespearean Comedy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
*Texts not inlcuded in these materials.

Grammar Handbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

viii SpringBoard® English Language Arts Grade 8

To the Student

Welcome to the SpringBoard program. The College • Close reading and analysis of texts
Board publishes SpringBoard to help you acquire the
knowledge and skills that you will need to be prepared • Effective communication in collaborative discussions
for rigorous English Language Arts coursework. in which you use your textual analysis to share ideas
and make decisions with peers
Developing proficient reading, writing, language,
and speaking and listening skills is important to your • Fluency in writing narratives, explanations, and
success in school, in college, and in a career. Preparing arguments based on purpose and audience
you to develop these skills is the primary purpose of
• Vocabulary and language skills
this program.
As you complete middle school and prepare for • Reading and interpreting film while comparing it to a
high school, these skills will also be valuable if you related print version
decide to take an Advanced Placement course or another • Media literacy.
college-level course. Not every student will take an
Advanced Placement course in high school, but through By learning these skills, you will enhance your ability to
SpringBoard you can acquire the knowledge and skills understand and analyze any challenging text, to write
you will need to be successful if you do decide to enroll with clarity and voice, to speak and listen in order to
in AP Literature or AP Language Arts. communicate and work effectively with others, and to
We hope you will discover how SpringBoard can view media with a critical intelligence.
help you achieve high academic standards, reach your
learning goals, and prepare you for success in your study LEARNING STRATEGIES
of literature and language arts. This program has been Some tools to help you learn are built into every lesson.
created with you in mind: the content you need to learn, At the beginning of each activity, you will see suggested
the tools to help you learn, and the critical thinking skills learning strategies. Each of these strategies is explained
that help you build confidence in your ability to succeed in full in the Resources section of your book. These
academically. strategies range from close reading and marking texts
to drafting and revising written work. You will also
STANDARDS-BASED LEARNING encounter collaborative strategies in speaking and
This SpringBoard edition was developed to help you listening like debate and Socratic Seminar. Finally,
achieve the expectations of being college and career SpringBoard uses a variety of pre-AP strategies like
ready. Rigorous standards outline what you should learn SOAPSTone and TP-CASTT to help you deeply analyze
in English Language Arts in each grade. See pages xiii- text; collect evidence for your writing; and critically
xvi for the complete standards for Grade 8. think about issues, ideas, and concepts. As you learn to
The SpringBoard program provides instruction use each strategy, you will decide which strategies work
and realistic activities that help you achieve the learning best for you!
expected by rigorous college and career readiness
standards. With this program, you will focus on
developing the following skills:

To The Student ix
TO THE
STUDENT
continued

AP CONNECTIONS • Gain a deep understanding of topics, enabling you to

When you reach high school, you may have an apply your learning to new and varied situations
opportunity to take Advanced Placement (AP) classes • Take ownership of your learning by practicing and
or other rigorous courses. When the time comes to selecting strategies that work for you
make that decision, we want you to be equipped with
the kind of higher-order thinking skills, knowledge, and • Reflect on your growth as a reader, writer, speaker,
behaviors necessary to be successful in AP classes and and listener and showcase your best work in a
beyond. You will see connections to AP in the texts that working portfolio.
you read, the strategies you use, and the writing tasks
throughout the material.
MIDDLE SCHOOL AT A GLANCE
Having connections to AP Language and Literature will
Grade 6
SpringBoard Grade 6 is developed around the thematic
help you:
concept of change. During the year, you will learn how
• Close read a text to determine literary elements. writers use that theme to tell stories in poetry, short
• Write with an attention to textual evidence and chose stories, and nonfiction texts. Among the many texts that
organizational patterns. you will read are works by Langston Hughes, a famous
writer who was part of the Harlem Renaissance. Sharon
• Identify and write rhetorical appeals. Creech explores change resulting from the loss of a
• Understand strong relationships among author’s parent in her novel, Walk Two Moons. John Steinbeck
purpose, use of literary/stylistic devices, and desired takes you on a trip around the country with his dog,
effect. Charley. Scenes from one of William Shakespeare’s plays
take you into the world of drama. As you read these
• Analyze and synthesize information from a variety of
texts and make connections to experiences in your own
texts to respond to an AP style prompt.
life, you will begin to see how writers use the details of
• Write to interpret, evaluate, and negotiate differing everyday life to create stories that we all enjoy.
critical perspectives in literature. Reading and writing go hand-in-hand, and Grade 6
gives you opportunities to write your own stories
THE SPRINGBOARD DIFFERENCE (narrative), explain information (expository), and
SpringBoard is different because it provides instruction create an argument to persuade an audience. Specific
with hands-on participation that involves you and strategies for writing and revising support your writing
your classmates in daily discussions and analysis of efforts from planning to drafting, revising, and editing.
what you’re reading and learning. You will have an Writing opportunities include a personal narrative and a
opportunity to: short story, essays in which you share your ideas about a
• Discuss and collaborate with your peers to explore fictional story and a real-life story, and an argumentative
and express your ideas letter to persuade others to support you position on
an issue.
• Explore multiple perspectives by reading a variety of You will also be asked to research topics and
texts – both fiction and nonfiction – that introduce deepen your understanding using film. In this grade
you to different ways of thinking, writing, and you will view a video biography of Temple Grandin
communicating while also reading about her life and how she has coped
• Examine writing from the perspective of a reader and with autism.
writer and learn techniques that good writers use to
communicate their message effectively

x SpringBoard® English Language Arts Grade 8

 TO THE
STUDENT
continued

Grade 7 Writing and speaking opportunities are varied and

In SpringBoard Grade 7, you will investigate the engaging. For example, you will write a hero's journey
thematic concept of choice. All of us make choices narrative about a hero of your choice, along with essays
every day. Some of those choices have a short-term and an argument that presents your position on an
impact (like what to have for lunch), while others have issue in a compelling way. Using research on an issue
a greater impact (like whether to study in school or to of national or global significance, you will create an
goof off !). You will learn about Nelson Mandela’s choice informative multimedia presentation.
to fight segregation—even though it meant going to Viewing film is also a part of researching and
jail—in South Africa by reading from his autobiography. analyzing what authors are communicating. As part
A famous poem by Robert Frost, the novel Tangerine, of studying comedy and Shakespeare, you will analyze
Sojourner Truth’s famous speech on slavery, and a scenes from the play A Midsummer Night's Dream and
drama by Shakespeare all show you the choices that real then view those scenes in film to determine how and
and imaginary characters make and how those choices why a film director may have changed the scenes.
affect their lives. Close reading strategies will help you
to determine what each text says explicitly and to make PERFORMANCE PORTFOLIO
logical inferences from what it does not say explicitly. If you were asked to introduce yourself in a visual way
Writing and speaking will focus on text-based to your classmates, you might show them pictures of
evidence. For example, you and your peers will write yourself. Another way to introduce yourself is through
a literary analysis of a novel and include findings your writing. You are unique as a writer, and how and
from research to produce a multimedia biographical what you write is a way of showing yourself.
presentation. Much like in 6th grade, you will be When you collect your writing assignments over a
asked to write in argumentative, informational, and period of time, you can see how your writing skills are
narrative modes. changing as you learn new writing techniques.
You will also look at print texts and then examine Presenting yourself through a portfolio also provides
how those same texts are portrayed in film. Dramas are direction as you revisit, revise, and reflect on your work
like a film done on stage, and you will get to star in a throughout the year. Your teacher will guide you as you
performance of a scene from another of Shakespeare’s include items in your portfolio that illustrate a wide
plays. range of work, including examples of reading, writing,
oral literacy, and collaborative activities. As you progress
Grade 8 through the course, you will have opportunities to revisit
In SpringBoard Grade 8, units of study focus on the prior work, revise it based on new learning, and reflect
theme of challenges. Among the many texts that you on the learning strategies and activities that help you be
will read are an essay about Civil War heroes, narratives successful. The portfolio:
about the Holocaust, a novel and short story by Ray • Gives you a specific place to feature your work and a
Bradbury, Elie Wiesel’s Nobel Prize acceptance speech, means to share it with others.
poetry by Walt Whitman, and a play by Shakespeare.
These texts take you into the world of heroes—both • Provides an organized, focused way to view your
everyday heroes and extraordinary ones—who face progress throughout the year.
challenges and take actions to overcome them. You will • Allows you to reflect on the new skills and strategies
learn about an archetype of a hero, which is a model that you are learning.
writers follow in creating stories about heroes.
• Enables you to measure your growth as a reader,
writer, speaker, and performer.

• Encourages you to revise pieces of work to

incorporate new skills.

To The Student xi
TO THE
STUDENT
continued

As you move through each unit, your teacher will instruct

you to include certain items in your portfolio. Strong
portfolios will include a variety of work from each unit, such
as first drafts, final drafts, quickwrites, notes, reading logs,
audio and video examples, and graphics that represent a
wide variety of genre, forms, and media created for a variety
of purposes.
Your teacher will also instruct you about preferences
for your portfolio. For example, your portfolio may be
organized in one of these ways:

• In a 3-ring binder with dividers to separate the work for

each unit.

• Chronologically, beginning with the first unit and moving

to the last.

• With periodic reports on assessments with your

reflections on your progress.

• With multiple drafts of an activity (where applicable).

• With a table of contents that lists each activity in your

portfolio.

We hope you enjoy using the SpringBoard program. It

will give you many opportunities to explore your own and
others’ ideas about becoming effective readers, writers, and
communicators.

xii SpringBoard® English Language Arts Grade 8

GRADE 8

College and Career Readiness Standards

READING STANDARDS FOR LITERATURE READING STANDARDS FOR
Key Ideas and Details INFORMATIONAL TEXT
1. Cite the textual evidence that most strongly Key Ideas and Details
supports an analysis of what the text says explicitly as 1. Cite the textual evidence that most strongly
well as inferences drawn from the text. supports an analysis of what the text says explicitly as
2. Determine a theme or central idea of a text and well as inferences drawn from the text.
analyze its development over the course of the text 2. Determine a central idea of a text and analyze
including its relationship to the characters, setting, its development over the course of the text, including
and plot; provide an objective summary of the text. its relationship to supporting ideas; provide an
3. Analyze how particular lines of dialogue or objective summary of the text.
incidents in a story or drama propel the action, 3. Analyze how a text makes connections among
reveal aspects of a character, or provoke a decision. and distinctions between individuals, ideas, or events
Craft and Structure (e.g., through comparisons, analogies, or categories).
4. Determine the meaning of words and phrases Craft and Structure
as they are used in a text, including figurative and 4. Determine the meaning of words and phrases
connotative meanings; analyze the impact of specific as they are used in a text, including figurative,
word choices on meaning and tone, including connotative, and technical meanings; analyze the
analogies or allusions to other texts. impact of a specific word choices on meaning and
5. Compare and contrast the structure of two or tone, including analogies or allusions to other texts.
more texts and analyze how the differing structure of 5. Analyze in detail the structure of a specific
each text contributes to its meaning and style. paragraph in a text, including the role of particular
6. Analyze how differences in the points of view sentences in developing and refining a key concept.
of the characters and the audience or reader (e.g., 6. Determine an author's point of view or purpose
created through the use of dramatic irony) create in a text and analyze how the author acknowledges
such effects as suspense or humor. and responds to conflicting evidence or viewpoints.
Integration of Knowledge and Ideas Integration of Knowledge and Ideas
7. Analyze the extent to which a filmed or live 7. Evaluate the advantages and disadvantages of
production of a story or drama stays faithful to or using different mediums (e.g., print or digital text,
departs from the text or script, evaluating the choices video, multimedia) to present a particular topic or
made by the director or actors. idea.
8. (Not applicable to literature) 8. Delineate and evaluate the argument and
9. Analyze how a modern work of fiction draws specific claims in a text, assessing whether the
on themes, patterns of events, or character types reasoning is sound and the evidence is relevant and
from myths, traditional stories, or religious works sufficient; recognize when irrelevant evidence is
such as the Bible, including describing how the introduced.
material is rendered new. 9. Analyze a case in which two or more texts
Range of Reading and Level of Text Complexity provide conflicting information on the same topic
10. By the end of the year, read and comprehend and identify where the texts disagree on matters of
literature, including stories, dramas, and poems, at fact or interpretation.
the high end of grades 6–8 text complexity band Range of Reading and Level of Text Complexity
independently and proficiently. 10. By the end of the year, read and comprehend
literary nonfiction at the high end of the grades 6–8
text complexity band independently and proficiently.

College and Career Readiness Standards xiii

COLLEGE AND
CAREER READINESS
STANDARDS
continued

WRITING STANDARDS b. Use narrative techniques, such as dialogue, pacing,

description, and reflection to develop experiences,
Text Types and Purposes
events, and/or characters.
1. Write arguments to support claims with clear
c. Use a variety of transition words, phrases, and
reasons and relevant evidence.
clauses to convey sequence, signal shifts from one
a. Introduce claim(s), acknowledge and distinguish
time frame or setting to another, and show the
the claim(s) from alternate or opposing claims,
relationships among experiences and events.
and organize the reasons and evidence logically.
d. Use precise words and phrases, relevant
b. Support claim(s) with logical reasoning and
descriptive details, and sensory language to
relevant evidence, using accurate, credible sources
capture the action and convey experiences and
and demonstrating an understanding of the topic
events.
or text.
e. Provide a conclusion that follows from the
c. Use words, phrases, and clauses to create cohesion
narrated experiences or events.
and clarify the relationships among claim(s),
counterclaims, reasons, and evidence. Production and Distribution of Writing
d. Establish and maintain a formal style. 4. Produce clear and coherent writing in which
e. Provide a concluding statement or section the development, organization and style are
that follows from and supports the argument appropriate to task, purpose, and audience. (Grade-
presented. specific expectations for writing types are defined in
2. Write informative/explanatory texts to examine standards 1–3 above.)
a topic and convey ideas, concepts, and information 5. With some guidance and support from peers
through the selection, organization, and analysis of and adults, develop and strengthen writing as
relevant content. needed by planning, revising, editing, rewriting,
a. Introduce a topic clearly, previewing what is to or trying a new approach, focusing on how well
follow; organize ideas, concepts, and information purpose and audience have been addressed. (Editing
into broader categories; include formatting (e.g., for conventions should demonstrate command of
headings), graphics (e.g., charts, tables), and Language standards 1–3 up to and including grade 8
multimedia when useful to aiding comprehension. on page 52.)
b. Develop the topic with relevant well-chosen facts, 6. Use technology, including the Internet, to
definitions, concrete details, quotations, or other produce and publish writing and present the
information and examples. relationships between information and ideas
c. Use appropriate and varied transitions to create efficiently as well as to interact and collaborate
cohesion and clarify the relationships among ideas with others.
and concepts. 7. Conduct short research projects to answer
d. Use precise language and domain-specific a question (including a self-generated question),
vocabulary to inform about or explain the topic. drawing on several sources and generating additional
e. Establish and maintain a formal style. related, focused questions that allow for multiple
f. Provide a concluding statement or section that avenues of exploration.
follows from and supports the information or 8. Gather relevant information from multiple print
explanation presented. and digital sources, using search terms effectively;
assess the credibility and accuracy of each source;
3. Write narratives to develop real or imagined and quote or paraphrase the data and conclusions
experiences or events using effective technique, of others while avoiding plagiarism and following a
relevant descriptive details, and well-structured event standard format for citation.
sequences.
a. Engage and orient the reader by establishing
a context and point of view and introducing a
narrator and/or characters; organize an event
sequence that unfolds naturally and logically.

xiv SpringBoard® English Language Arts Grade 8

 COLLEGE AND
CAREER READINESS
STANDARDS
continued

9. Draw evidence from literary or informational 3. Delineate a speaker's argument and specific
texts to support analysis, reflection, and research. claims, evaluating the soundness of the reasoning
a. Apply grade 8 reading standards to literature and the relevance and sufficiency of the evidence and
(e.g., “Analyze how a modern work of fiction identifying when irrelevant evidence is introduced.
draws on themes, patterns of events, or character Presentation of Knowledge and Ideas
types from myths, traditional stories, or religious 4. Present claims and findings, emphasizing
works such as the Bible, including describing how salient points in a focused, coherent manner with
the material is rendered new”). relevant evidence, sound valid reasoning, and well-
b. Apply grade 8 reading standards to literary chosen details; use appropriate eye contact, adequate
nonfiction (e.g., “Delineate and evaluate the volume, and clear pronunciation.
argument and specific claims in a text, assessing 5. Integrate multimedia and visual displays into
whether the reasoning is sound and the evidence presentations to clarify information, strengthen
is relevant and sufficient; recognize when claims and evidence, and add interest.
irrelevant evidence is introduced”). 6. Adapt speech to a variety of contexts and tasks,
Range of Writing demonstrating command of formal English when
10. Write routinely over extended time frames indicated or appropriate.
(time for research, reflection, and revision) and
shorter time frames (a single sitting or a day or two) LANGUAGE STANDARDS
for a range of discipline-specific tasks, purposes, and
Conventions of Standard English
audiences.
1. Demonstrate command of the conventions of
standard English grammar and usage when writing
SPEAKING AND LISTENING STANDARDS or speaking.
1. Engage effectively in a range of collaborative a. Explain the function of verbals (gerunds,
discussions (one-on-one, in groups, and teacher-led) participles, infinitives) in general and their
with diverse partners on grade 8 topics, texts, and function in particular sentences.
issues, building on others' ideas and expressing their b. Form and use verbs in the active and passive voice.
own clearly. c. Form and use verbs in the indicative, imperative,
a. Come to discussions prepared, having read or interrogative, conditional, and subjunctive mood.
researched material under study; explicitly draw d. Recognize and correct inappropriate shifts in verb
on that preparation by referring to evidence on the voice and mood.
topic, text, or issue to probe and reflect on ideas
under discussion. 2. Demonstrate command of the conventions of
b. Follow rules for collegial discussions and decision- standard English capitalization, punctuation, and
making, track progress toward specific goals and spelling when writing.
deadlines, and define individual roles as defined. a. Use punctuation (comma, ellipsis, dash) to
c. Pose questions that connect the ideas of several indicate a pause or break.
speakers and respond to others' questions and b. Use an ellipsis to indicate an omission.
comments with relevant evidence, observations, c. Spell correctly.
and ideas. Knowledge of Language
d. Acknowledge new information expressed by 3. Use knowledge of language and its conventions when
others and, when warranted, qualify or justify writing, speaking, reading, or listening.
their own views in light of the evidence presented. a. Use verbs in the active and passive voice and in
2. Analyze the purpose of information presented the conditional and subjunctive mood to achieve
in diverse media and formats (e.g., visually, particular effects (e.g., emphasizing the actor or
quantitatively, orally) and evaluate the motives (e.g., the action; expressing uncertainty or describing a
social, commercial, political) behind its presentation. state contrary to fact).

College and Career Readiness Standards xv

COLLEGE AND
CAREER READINESS
STANDARDS
continued

4. Determine or clarify the meaning of unknown 5. Demonstrate understanding of figurative

and multiple-meaning words and phrases based on language, word relationships, and nuances in word
grade 8 reading and content, choosing flexibly from a meanings.
range of strategies. a. Interpret figures of speech (e.g., verbal irony,
a. Use context (e.g., the overall meaning of a puns) in context.
sentence or paragraph; a word’s position or b. Use the relationship between particular words to
function in a sentence) as a clue to the meaning of better understand each of the words.
a word or phrase. c. Distinguish among the connotations (associations)
b. Use common, grade-appropriate Greek or Latin of words with similar denotations (definitions)
affixes and roots as clues to the meaning of a word (e.g., bullheaded, willful, firm, persistent, resolute).
(e.g., precede, recede, secede).
6. Acquire and use accurately grade-appropriate
c. Consult general and specialized reference
general academic and domain-specific words
materials (e.g., dictionaries, glossaries,
and phrases; gather vocabulary knowledge when
thesauruses), both print and digital, to find the
considering a word or phrase important to
pronunciation of a word or determine or clarify its
comprehension or expression.
precise meaning or its part of speech.
d. Verify the preliminary determination of the
meaning of a word or phrase (e.g., by checking the
inferred meaning in context or in a dictionary).

xvi SpringBoard® English Language Arts Grade 8

 UNIT

The Challenge
of Heroism
Visual Prompt: What do you picture when you hear the word hero? What words and images
immediately come to mind?

Unit Overview
This unit focuses on the challenges of heroism.
© 2014 College Board. All rights reserved.

Because this word is used every day—in

television shows, movies, video games, books,
the news, school, and conversations—we
rarely take time to actually think about what
it means. In this unit, you will research,
read, and write to develop a more complex
understanding of this important societal and
cultural concept.

Unit 1 • The Challenge of Heroism 1

UNIT The Challenge of Heroism
1

GOALS: Contents
• To create an original
Activities
illustrated narrative based
on the Hero’s Journey 1.1 Previewing the Unit ..................................................................... 4
archetype.
• To analyze and synthesize a 1.2 Understanding Challenges .......................................................... 5
variety of texts to develop an
original definition of hero.
1.3 Opening with Imagery……....................................………………………8
Novel: Excerpt from A Wrinkle in Time, by Madeleine L’Engle
• To analyze and evaluate
expository texts for ideas, 1.4 Visual Techniques ......................................................................11
structure, and language.
• To develop expository 1.5 Understanding the Hero’s Journey Archetype ............................15
texts using strategies of
definition. 1.6 The Departure ........................................................................... 20
Short Story: “The Drummer Boy of Shiloh,” by Ray Bradbury
1.7 The Initiation ............................................................................. 28
ACADEMIC VOCABULARY Narrative Poetry: From the Odyssey, by Homer
context
technique 1.8 Language and Writer’s Craft: Revising and Editing ................... 36
concise Introducing the Strategy: Self-Editing/Peer-Editing
synonyms
antonyms 1.9 The Return ................................................................................ 42
function
Novel: Excerpt from A Wrinkle in Time, by Madeleine L’Engle
negation
Embedded Assessment 1: Writing a Hero’s Journey Narrative ............49
1.10 Previewing Embedded Assessment 2 and
Literary Terms the Definition Essay ...................................................................51
archetype
imagery 1.11 The Nuance of Tone ....................................................................53
details

© 2014 College Board. All rights reserved.

setting 1.12 Physical and Emotional Challenges............................................55
point of view Introducing the Strategy: TP-CASTT
conflict
mood Poetry: “A Man,” by Nina Cassian
protagonist Article: “Soldier home after losing his leg in Afghanistan,”
plot
pacing
by Gale Fiege
epic Introducing the Strategy: Free Writing
tone
diction 1.13 Definition Strategies .................................................................61
denotation Poetry: “Sonnet 116,” by William Shakespeare
connotation Article: “Where I Find My Heroes,” by Oliver Stone from McCall’s
nuance
definition essay Magazine
allegory
formal style
informal style
coherence
thesis

2 SpringBoard® English Language Arts Grade 8

 Language and Writer’s
1.14 Historical Heroes: Examples ......................................................67 Craft
Sermon: Excerpt from White House Funeral Sermon • Revising and Editing (1.8)
for Abraham Lincoln, by Dr. Phineas D. Gurley • Verbs and Mood (1.8)
Poetry: “O Captain! My Captain!” by Walt Whitman • Transitions and
Poetry: “Frederick Douglass,” by Robert Hayden Quotations (1.15)

Autobiography: Excerpt from The Narrative of the Life of

Frederick Douglass, an American Slave, by Frederick Douglass
1.15 Language and Writer’s Craft: Transitions and
Quotations .................................................................................74
1.16 Negation Strategy of Definition................................................. 78
Essay: “A Definition of a Gentleman,” by John Henry Newman
1.17 Expository Writing Focus: Organization ................................... 80
Embedded Assessment 2: Writing a Definition Essay ........................ 87

*Texts not included in these materials.

© 2014 College Board. All rights reserved.

Unit 1 • The Challenge of Heroism 3

ACTIVITY Previewing the Unit
1.1

Learning Targets
LEARNING STRATEGIES: • Preview the big ideas and vocabulary for the unit.
Think- Pair-Share, QHT, Close
Reading, Marking the Text, • Identify the skills and knowledge needed to complete Embedded Assessment 1
Paraphrasing, Graphic Organizer successfully.

Making Connections
This unit introduces the challenge theme by examining how we define heroes. You
Literary Terms will be introduced to the archetype of the hero’s journey and will study various
An archetype is a character, examples of heroes and how their journeys fit the archetype. You will also have
symbol, story pattern, or other the opportunity to expand your writing skills into new forms of expository writing,
element that is common to focusing on writing an essay of definition about heroism.
human experience across
cultures and that occurs Essential Questions
frequently in literature, myth,
and folklore. Based on your current thinking, how would you answer these questions?
1. What defines a hero?

My Notes

2. How does the Hero’s Journey archetype appear in stories throughout time?

Developing Vocabulary
Create a chart to use the QHT strategy to sort the Academic Vocabulary and the
Literary Terms from the Contents page.

Unpacking Embedded Assessment 1

Closely read the assignment for Embedded Assessment 1: Writing a Hero’s Journey

© 2014 College Board. All rights reserved.

Narrative.
Think about all the heroes you have encountered in fiction and in real life. What
type of hero appeals to you? Write and create an illustrated narrative about an
original hero. Use the Hero’s Journey archetype to develop and structure
your ideas.

Find the Scoring Guide and work with your class to paraphrase the expectations
for the assignment. Create a graphic organizer to use as a visual reminder of the
required skills and concepts. Copy the graphic organizer into your Reader/Writer
Notebook.
After each activity in the first half of this unit, use this graphic to guide reflection
about what you have learned and what you still need to learn in order to be
successful in the Embedded Assessment.
INDEPENDENT
READING LINK
To extend learning in this part
of the unit, choose a narrative
about a mythological hero who
interests you.

4 SpringBoard® English Language Arts Grade 8

 Understanding Challenges ACTIVITY
1.2

Learning Target
• Analyze quotes and identify connections between the concepts of challenges LEARNING STRATEGIES:
Diffusing, Paraphrasing,
and heroism.
Graphic Organizer,
Brainstorming, Note-taking,
The Concept of Challenge Sketching
1. When you hear the word challenges, what comes to mind? Is the word
positive or negative? How can challenges be helpful to an individual? How can
they be harmful?
My Notes

2. Your teacher will assign quotes from the graphic organizer on the next page.
Read your assigned quote and diffuse the text by identifying and defining
unfamiliar words. In the graphic organizer, paraphrase the quote and
brainstorm examples from life or literature that support the speaker’s idea
about challenges.

3. Categorize the quote based on how the speaker defines a challenge: as an

obstacle, a difficult task, or an opportunity. Circle or highlight the appropriate
category in the third column.

4. How does the speaker’s definition of challenge connect to the concept of

heroism?
© 2014 College Board. All rights reserved.

5. Create a poster that represents the meaning of your quote. You will use this
visual display to clarify and add interest during your presentation.

Unit 1 • The Challenge of Heroism 5

ACTIVITY 1.2
Understanding Challenges
continued

Quote A Challenge Is . . .

A. “The true measure Paraphrase: an obstacle

of a man is not how he
behaves in moments of
a difficult task
comfort and convenience,
but how he stands at
times of controversy and an opportunity
challenges.”—Rev. Examples:
Dr. Martin Luther King,
Jr. (clergyman, activist)

B. “Accept the challenges Paraphrase: an obstacle

so that you can feel the
exhilaration of victory.”
a difficult task
—George S. Patton (U.S. Army
officer)
Examples: an opportunity

C. “The block of granite Paraphrase: an obstacle

which was an obstacle in
the pathway of the weak
a difficult task
became a stepping-stone in

© 2014 College Board. All rights reserved.

the pathway of the strong.” Examples:
—Thomas Carlyle (writer, an opportunity
essayist, historian)

D. “Life’s challenges are not Paraphrase: an obstacle

supposed to paralyze you;
they’re supposed to help you
a difficult task
discover who you are.”
—Bernice Johnson Reagon
(singer, composer, scholar, Examples: an opportunity
activist)

6 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.2
continued

6. Assign speaking parts for the presentation.

My Notes

Element of Presentation Speaker

(a) Fluently read the quote and explain the meaning.

(b) Provide specific examples from life.

(c) Explain the group’s categorization of the quote.

(d) Explain how the quote connects to the concept of

heroism.

7. Present using appropriate eye contact, adequate volume, and clear

pronunciation. Use your visual effectively.

8. As other groups present, listen to comprehend and take notes in the graphic
organizers.

Check your Understanding

Quickwrite: Think about the content of all four quotes. How does the concept of
challenge connect to the concept of heroism?
© 2014 College Board. All rights reserved.

INDEPENDENT
READING LINK
What kinds of challenges
has the hero of your
independent reading text
encountered? What do these
challenges or obstacles
reveal about the character?

Unit 1 • The Challenge of Heroism 7

ACTIVITY Opening with Imagery
1.3

Learning Targets
LEARNING STRATEGIES: • Analyze the imagery in a novel excerpt.
Marking the Text, Discussion
Groups, Rereading, • Revise writing by substituting a different point of view and adding imagery
Summarizing, Predicting, for effect.
Substituting, Adding
Before Reading
1. If a teacher gave you the choice between reading a narrative or viewing a
narrative, which would you choose? Why?

2. What is the difference between the two experiences?

Literary Terms 3. What kinds of details do authors typically provide at the beginning of a story?
Imagery is descriptive or
Why?
figurative language used to
create word pictures in a
reader’s mind. Details are the
words that describe a character,
a setting, an event, etc. During Reading
4. As you read the novel excerpt, mark words and phrases that you can easily
picture in your mind. Imagery and detail are the tools authors use to help
readers visualize important elements of the story.
ACADEMIC VOCABULARY
You know the word context 5. In past studies, you have used context in the form of context clues to help
from context clues to define you make meaning of unknown words. With this unit, you will add to your
words. Context also refers to knowledge of context by looking at it in a broader form, which is the context of a
the circumstances or facts that story or situation. As you read the excerpt, analyze how the author uses imagery
surround a particular event or to set the context for the story and grab the reader’s attention.
situation. In a story or novel,

© 2014 College Board. All rights reserved.

contextual information can
help you understand the time ABOUT THE AUTHOR
and place in which the story
Madeleine L’Engle (1918–2007) authored numerous books for children and
takes place.
adults. Her best-known work, A Wrinkle in Time, won the 1963 Newbery
Medal for best children’s book of the year. Oddly enough, L’Engle submitted
her manuscript for this book to 26 different publishers—all of whom rejected
it. The 27th agreed to its publication. L’Engle’s work also included plays and
My Notes poetry, as well as her autobiography. A Wrinkle in Time is part of a science
fiction series. Other books in the series are A Wind in the Door, A Swiftly
Tilting Planet, Many Waters, and An Acceptable Time.

8 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.3
continued

Novel
My Notes
from
A Wrinkle inTime
by Madeleine L’Engle
Excerpt from Chapter 6, “The Happy Medium”

1 Below them the town was laid out in harsh angular patterns. The houses in the
outskirts were all exactly alike, small square boxes painted gray. Each had a small,
rectangular plot of lawn in front, with a straight line of dull-looking flowers edging
the path to the door. Meg had a feeling that if she could count the flowers there would
be exactly the same number for each house. In front of all the houses children were
playing. Some were skipping rope, some were bouncing balls. Meg felt vaguely that
something was wrong with their play. It seemed exactly like children playing around
any housing development at home, and yet there was something different about it. She
looked at Calvin, and saw that he, too, was puzzled. KEY IDEAS AND DETAILS
What can you infer about
2 “Look!” Charles Wallace said suddenly. “They’re skipping and bouncing in rhythm! the neighborhood from the
Everyone’s doing it at exactly the same moment.” details and images that
are included in the first
3 This was so. As the skipping rope hit the pavement, so did the ball. As the rope
paragraph?
curved over the head of the jumping child, the child with the ball caught the ball. Down
came the ropes. Down came the balls. Over and over again. Up. Down. All in rhythm.
All identical. Like the houses. Like the path. Like the flowers.
4 Then the doors of all the houses opened simultaneously, and out came women
like a row of paper dolls. The print of their dresses was different, but they all gave the
GRAMMAR USAGE
appearance of being the same. Each woman stood on the steps of her house. Each
Punctuation
clapped. Each child with the ball caught the ball. Each child with the skipping rope
folded the rope. Each child turned and walked into the house. The doors clicked shut In English, courtesy titles
behind them. are often used as part
of someone’s name. For
5 “How can they do it?” Meg asked wonderingly. “We couldn’t do it that way if we example, the words “Dr.,”
© 2014 College Board. All rights reserved.

tried. What does it mean?” “Mr.,” “Mrs.,” and “Ms.,”

are all courtesy titles.
6 “Let’s go back.” Calvin’s voice was urgent.
These courtesy titles are
7 “Back?” Charles Wallace asked. “Where?” abbreviations for Doctor,
Mister, and Mistress (both
8 “I don’t know. Anywhere. Back to the hill. Back to Mrs Whatsit and Mrs Who and
Mrs. and Ms. are derived
Mrs Which. I don’t like this.” from this word). Generally,
9 “But they aren’t there. Do you think they’d come to us if we turned back now?” a period is placed after an
abbreviation. Note the lack
10 “I don’t like it.” Calvin said again. of periods for Madeleine
11 “Come on.” Impatience made Meg squeak. “You know we can’t go back. L’Engle’s characters Mrs
Mrs Whatsit said to go into the town.” She started on down the street and the two Whatsit, Mrs Who, and Mrs
boys followed her. The houses, all identical, continued, as far as the eye could reach. Which. L’Engle specifically
wanted no periods after these
names because they were
otherworldly beings, and she
wanted to distinguish them
as such. Other characters in
the story do include periods
in the courtesy titles.

Unit 1 • The Challenge of Heroism 9

 ACTIVITY 1.3
Opening with Imagery
continued

12 Then, all at once, they saw the same thing, and stopped to watch. In front of one
My Notes of the houses stood a little boy with a ball, and he was bouncing it. But he bounced it
rather badly and with no particular rhythm, sometimes dropping it and running after it
with awkward, furtive leaps, sometimes throwing it up into the air and trying to catch it.
The door of his house opened and out ran one of the mother figures. She looked wildly
up and down the street, saw the children and put her hand to her mouth as though to
stifle a scream, grabbed the little boy and rushed indoors with him. The ball dropped
from his fingers and rolled out into the street.

After Reading
6. How does the author use details and imagery to create context?

Literary Terms
Setting is the time and place in
which a narrative occurs. Point
of view is the perspective from
which a story is told.
In first-person point of view a
character tells the story from his
or her own perspective.
In third-person point of view a
narrator (not a character) tells 7. The author establishes a setting and point of view in the opening of the
the story. narrative. Summarize the setting and point of view:
Conflict is a struggle between
opposing forces, either internal
or external. Common conflicts
are man vs. self, man vs. man,
man vs. society, and man
vs. nature.

© 2014 College Board. All rights reserved.

8. The imagery helps to introduce the story’s conflict. What does the author want
us to know? Make a prediction about the story based on this information.

Check Your Understanding

Writing Prompt: Think about the opening of Madeleine L’Engle’s novel A Wrinkle
in Time. What would be the effect if it were written from a different point of view?
Revise a selected section of the excerpt. Be sure to:
• Substitute third-person point of view with first-person point of view.
• Add imagery to strengthen the description of the setting.
• Add details to communicate the character’s perspective.

10 SpringBoard® English Language Arts Grade 8

 Visual Techniques ACTIVITY
1.4

Learning Targets
• Analyze a director’s use of visual techniques in a film. LEARNING STRATEGIES:
Close Reading, Rereading,
• Create a visual for A Wrinkle in Time using a variety of techniques for effect. Drafting, Discussion Groups,
Sharing and Responding
As part of the requirements for Embedded Assessment 1, you will be creating an
illustrated narrative. Understanding how filmmakers create visuals for films can
help you transform written imagery and detail into illustrations or film images.

1. The following information will increase your understanding of visual techniques. ACADEMIC VOCABULARY
A technique is a way of
carrying out a particular
VISUAL TECHNIQUES task, so visual techniques
are ways images can be
Framing: Borders of the image; a single shot can be thought of as a frame for
used to convey narration.
the picture.
Shot: A single piece of film, uninterrupted by cuts.
Long shot (LS): A shot from some distance (also called a full shot). A long shot
of a person shows the full body. It may suggest the isolation or vulnerability of My Notes
the character.
Medium shot (MS): The most common shot. The camera seems to be a medium
distance from the object being filmed. A medium shot shows a person from the
waist up.
Close-up shot (CU): The image takes up at least 80 percent of the frame.
Extreme close-up shot (ECU): The image being shot is a part of a whole, such as
an eye or a hand.

Camera Angles
Eye level: A shot taken from a normal height (character’s eye level); most shots Literary Terms
are eye level because it is the most natural angle. Mood is the overall
© 2014 College Board. All rights reserved.

emotion, which is created

High angle: The camera is above the subject. This angle usually has the effect of
by the author’s language
making the subject look smaller than normal, giving him or her the appearance and tone and the subject
of being weak, powerless, or trapped. matter.
Low angle: The camera shoots the subject from below. This angle usually has
the effect of making the subject look larger than normal, and therefore strong,
powerful, or threatening.

Camera Point of View

Subjective: A shot taken from a character’s point of view, as though the camera
lens is the character’s eyes.
Objective: A shot from a neutral point of view, as though the camera lens is an
outside, objective witness to the events as they unfold.

Lighting
High key: A scene flooded with light, creating a bright and open mood.
Low key: A scene flooded with shadows and darkness, creating suspense or
suspicion.
Neutral: Neither high key nor low key—even lighting in the shot.

Unit 1 • The Challenge of Heroism 11

 ACTIVITY 1.4
Visual Techniques
continued

2. Pretend you are directing an action movie. What mood would you want to
Literary Terms create? Which combination of techniques would you use to create that mood?
A protagonist is the leading Explain your choices.
character or a major character in
a drama, movie, novel, or other
fictional text.

3. While viewing the opening sequence of a film, identify the director’s use of
visual techniques. Record your observations in the chart below.

Section 1: Framing
What framing is used to film the protagonist? Why do you think the director chose this framing?
(LS, MS, CU, ECU)

Section 2: Angles

What angles are used to film the opening scene? (eye Why do you think the director chose these angles?
level, high angle, low angle)

© 2014 College Board. All rights reserved.

Section 3: Lighting and Point of View

What kind of lighting is used? (high key, Why do you think the director used this lighting?
low key, neutral)

From which camera point of view is this shot? Why did the director choose this point of view?

12 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.4
continued

4. Analyze the techniques you observed. What mood is created by the techniques
used by the director? My Notes

Check Your Understanding

5. Explain how the director uses a combination of visual techniques to create
a specific mood. Provide supporting detail and commentary for the first
technique, using the frame below to guide your response. Then write supporting
details for the other two techniques.

Topic Sentence:
The director of [film title] uses [technique 1], [technique 2], and
[technique 3] to create a _________________ mood in the opening
sequence of his/her film.

Supporting Detail:
For example, he/she uses [technique 1] to __________________________.

Commentary: [connect the supporting detail to the mood]

6. Revisit the excerpt from the novel AWrinkle in Time. Analyze the mood and
provide textual evidence to support your interpretation.
Mood:
© 2014 College Board. All rights reserved.

Textual Evidence:

Textual Evidence:

7. Imagine that you are co-directing a film version of A Wrinkle in Time. Work with
your partner to plan and draft a visual of one frame (or no more than 3 frames)
that represents imagery from the text. Use a variety of film techniques for effect.

Unit 1 • The Challenge of Heroism 13

ACTIVITY 1.4
Visual Techniques
continued

Plan:

Technique Explanation Intended Effect

Shot:

Angle:

Lighting:

Draft:
Title: _________________________________

© 2014 College Board. All rights reserved.

14 SpringBoard® English Language Arts Grade 8

 Understanding the Hero’s ACTIVITY

Journey Archetype 1.5

Learning Targets
• Analyze how a film uses the Hero’s Journey to structure its plot. LEARNING STRATEGIES:
Metacognitive Markers,
• Apply the Hero’s Journey archetype to a new text. Rereading, Close Reading,
Graphic Organizer, Note-
In literature, an archetype is a character, symbol, story pattern, or other element taking, Collaborative
that is common to human experience across cultures. It refers to a common plot Discussion
pattern or to a character type such as the Innocent, the Mother Figure, or the Hero,
or to images that occur in the literature of all cultures.
The archetype of the Hero’s Journey describes a plot pattern that shows the
development of a hero. The information below describes the structure of a Hero’s
Journey. WORD
CONNECTIONS
Joseph Campbell, an American anthropologist, writer, and lecturer, studied
the myths and stories of multiple cultures and began to notice common plot Roots and Affixes
patterns. In The Hero With a Thousand Faces, Campbell defines common The Greek prefix arch- in
elements of the Hero’s Journey. Campbell found that most journey myths had archetype means “chief” or
three parts: “principal” or “first.” This
prefix is also found in archaic,
• Departure: the hero leaves home to venture into the unknown on some sort
archeology, and archive.
of quest.
The Greek root -type-, meaning
• Initiation: the hero faces a series of problems. “impression” or “type,”
• Return: with the help of a friend, the hero returns home successfully. also occurs in typical and
stereotype.
While these elements may be referred to as the stages of the Hero’s Journey,
these stages may not always be presented in the exact same order, and some
stories do not contain every element of the journey.

Embedded Assessment 2 requires you to use the Hero’s Journey to sequence and
structure events in your narrative. You already know the basic elements of plot Literary Terms
development. All plot development includes: Plot is the sequence of
Exposition: Events that set the context for the story: the setting (time and related events that make
place), characters, and central conflict are introduced. up a story. There are five
© 2014 College Board. All rights reserved.

main elements of plot:

exposition, rising action,
Rising Action: Events that develop the plot and lead to the climax. climax, falling action, and
resolution.
Climax: The main event; the turning point, or highest point of tension in the
story.

Falling Action: The events that lead to the resolution.

My Notes
Resolution: Conflict is completely resolved and the lesson has been learned.

As you study the the stages of the Hero’s Journey archetype, think how the stages
of the journey fit with the development of plot. As you read, use metacognitive
markers to indicate your level of understanding and to guide future discussion:
? = questions, ! = connections, and * = comments.

Unit 1 • The Challenge of Heroism 15

ACTIVITY 1.5
Understanding the Hero’s
continued Journey Archetype

Hero’s Journey Archetype

Stage 1: Departure

Steps Explanation Example

1. The Call to Adventure The story’s exposition introduces

The future hero is first given notice the hero, and soon the hero’s
that his or her life is going to change. normal life is disrupted. Something
changes; the hero faces a problem,
obstacle, or challenge.

2. Refusal of the Call At first the hero is reluctant to

The future hero often refuses to accept the change. Usually this
accept the call to adventure. The reluctance presents itself as
refusal may stem from a sense second thoughts or personal
of duty, an obligation, a fear, or doubt. Hesitation, whether brief or
insecurity. lengthy, humanizes the hero for the
reader.

3. The Beginning of the Adventure The hero finally accepts the call
The hero begins the adventure, and begins a physical, spiritual,
leaving the known limits of his or her and/or emotional journey to
world to venture into an unknown and achieve a boon, something that is
dangerous realm where the rules and helpful or beneficial.
limits are unknown.

Stage 2: Initiation

4. The Road of Trials The story develops rising

© 2014 College Board. All rights reserved.

The hero experiences and is action as the hero faces a series
transformed by a series of tests, of challenges that become
tasks, or challenges. The hero usually increasingly difficult as the story
fails one or more of these tests, which unfolds.
often occur in threes.

5. The Experience with Unconditional This love often drives the hero to
Love continue on the journey, even when
During the Road of Trials, the hero the hero doubts him/herself.
experiences support (physical and/or
mental) from a friend, family member,
mentor, etc.

16 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.5
continued

Stage 2: Initiation (Continued)

Steps Explanation Example

6. The Ultimate Boon The story reaches the climax as the

The goal of the quest is achieved. The hero gains what he or she set out
boon can be a physical object or an to achieve.
intangible item such as knowledge, The Call to Adventure (what the
courage, or love. The Road of Trials hero is asked to do), the Beginning
makes the hero strong enough to of the Adventure (what the hero
achieve this goal. sets out to do), and the Ultimate
Boon (what the hero achieves) must
connect.

Stage 3: Return

7. Refusal of the Return The falling action begins as the

When the goal of the adventure is hero begins to think about the
accomplished, the hero may refuse Return. Sometimes the hero
to return with the boon or gift, either does not want to look back after
because the hero doubts the return achieving the boon. Sometimes the
will bring change, or because the hero hero likes the “new world” better.
prefers to stay in a better place rather This step is similar to the Refusal of
than return to a normal life of pain and the Call (in both cases, the hero does
trouble. not take action right away).

8. The Magic Flight For some heroes, the journey

The hero experiences adventure and “home” (psychological or physical)
perhaps danger as he or she returns can be just as dangerous as the
journey out. Forces (sometimes
© 2014 College Board. All rights reserved.

to life as it was before the Call to

Adventure. magical or supernatural) may keep
the hero from returning.
This step is similar to The Road of
Trials.

9. Rescue from Without Just as it looks as if the hero will

Just as the hero may need guides and not make it home with the boon,
assistance on the quest, oftentimes the hero is “rescued.” The rescuer
he or she must have powerful guides is sometimes the same person
and rescuers to bring him or her back who provided love or support
to everyday life. Sometimes the hero throughout the journey.
does not realize that it is time to
return, that he or she can return, or
that others are relying on him or her
to return.

Unit 1 • The Challenge of Heroism 17

 ACTIVITY 1.5
Understanding the Hero’s
continued Journey Archetype

10. The Crossing or Return Threshold The final step is the story’s
At this final point in the adventure, resolution, when the hero returns
the hero must retain the wisdom with the boon. The theme is
gained on the quest, integrate that typically revealed at this point.
wisdom into his or her previous life, To determine theme, think
and perhaps decide how to share the about the hero’s struggles,
wisdom with the rest of the world. transformation, and achievement.
The reader is expected to learn a
lesson about life though the hero’s
experience.

1. How do the elements of plot structure connect to the Hero’s Journey? Use the
My Notes diagram below to show your understanding.

2. In addition to using description for effect, another narrative technique is pacing.

Literary Terms Notice how the plot diagram gives an idea of how rising action is paced in
Pacing is a narrative contrast to falling action. How does a writer effectively pace plot events?
technique that refers to the
amount of time a writer gives to

© 2014 College Board. All rights reserved.

describing each event and the Check Your Understanding
amount of time a writer takes to In your discussion group, choose a familiar story that contains a hero’s journey and
develop each stage in the plot. work to connect the story’s plot to each step in the Hero’s Journey archetype. If the
Some events and stages are story does not contain one of the steps, indicate it with an X in the space provided.
shorter or longer than others.

18 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.5
continued

Text: _________________________________________________________________

Stage 1: Departure

1. The Call to Adventure:

2. Refusal of the Call:

3. The Beginning of the Adventure:

Stage 2: Initiation

4. The Road of Trials:

(a)
(b)
(c)

5. The Experience with Unconditional Love:

6. The Ultimate Boon:

Stage 3: Return

7. Refusal of the Return:

© 2014 College Board. All rights reserved.

8. The Magic Flight:

9. Rescue from Without:

10. The Crossing or Return Threshold:

(Theme Statement)

Unit 1 • The Challenge of Heroism 19

ACTIVITY The Departure
1.6

Learning Targets
LEARNING STRATEGIES: • Analyze a story for archetypal structure and narrative techniques.
Marking the Text, Close
Reading, Diffusing, Rereading, • Draft the opening of an original Hero’s Journey narrative.
Summarizing, Sketching, • Demonstrate understanding of visual techniques used for effect by illustrating
Visualizing an event.

Before Reading
Joseph Campbell describes the first stage of the Hero’s Journey as the hero’s
My Notes departure or separation. This activity focuses on the three steps of the Departure
Stage: the Call to Adventure, Refusal of the Call, and the Beginning of the
Adventure.
1. Think about all of the hero stories you have heard. What are common events
that represent a “call to adventure” for the hero?

2. Why would a hero refuse his or her call? Why might this be a common event in
hero stories?

3. Preview the short story title. What can you predict about the story and how it
might follow the archetypal Departure stage of the Hero’s Journey?

During Reading
4. As you read, analyze the text to identify the Departure stage of the Hero’s
Journey by trying to determine how each step fits the story.

© 2014 College Board. All rights reserved.

ABOUT THE AUTHOR
Ray Bradbury (1920–2012) authored the novel Fahrenheit 451, which was
first published in 1953. Bradbury called his books fantasy rather than
science fiction because he wrote stories that could not happen in real life.
Other well-known works by Bradbury include The Martian Chronicles and
Something Wicked This Way Comes. Bradbury also authored hundreds of
short stories and even wrote and published his own fan magazine.

20 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.6
continued

Short Story
My Notes

“The Drummer
Boy of Shiloh ”
by Ray Bradbury

1 In the April night, more than once, blossoms fell from the orchard trees and lit with
rustling taps on the drumskin. At midnight a peach stone left miraculously on a branch
through winter flicked by a bird fell swift and unseen struck once like panic, which
jerked the boy upright. In silence he listened to his own heart ruffle away away—at last
gone from his ears and back in his chest again.
2 After that, he turned the drum on its side, where its great lunar face peered at him
whenever he opened his eyes.
3 His face, alert or at rest, was solemn. It was indeed a solemn night for a boy
just turned fourteen in the peach field near the Owl Creek not far from the church
at Shiloh.1
4 “…thirty-one, thirty-two, thirty-three…”

5 Unable to see, he stopped counting.

6 Beyond the thirty-three familiar shadows, forty thousand men, exhausted by

nervous expectation, unable to sleep for romantic dreams of battles yet unfought, lay
crazily askew in their uniforms. A mile yet farther on, another army was strewn helter-
skelter, turning slow, basting themselves with the thought of what they would do when
the time came: a leap, a yell, a blind plunge their strategy, raw youth their protection
and benediction. KEY IDEAS AND DETAILS
7 Now and again the boy heard a vast wind come up, that gently stirred the air. What indications in the
But he knew what it was—the army here, the army there, whispering to itself in the story show that the boy is
© 2014 College Board. All rights reserved.

dark. Some men talking to others, other murmuring to themselves, and all so quiet it afraid?
was like a natural element arisen from South or North with the motion of the earth
toward dawn.
8 What the men whispered the boy could only guess, and he guessed that it was: “Me,
I’m the one, I’m the one of all the rest who won’t die. I’ll live through it. I’ll go home.
The band will play. And I’ll be there to hear it.”
9 Yes, thought the boy, that’s all very well for them, they can give as good as they get!

10 For with the careless bones of the young men harvested by the night and bindled
around campfires were the similarly strewn steel bones of their rifles, with bayonets
fixed like eternal lightning lost in the orchard grass.
11 Me, thought the boy, I got only a drum, two sticks to beat it and no shield.

12 There wasn’t a man-boy on the ground tonight who did not have a shield he cast,
riveted or carved himself on his way to his first attack, compounded of remote but
nonetheless firm and fiery family devotion, flag-blown patriotism and cocksure

1 Shiloh(n.): site of a Civil War battle in 1862; now a national military park in southwest
Tennessee.

Unit 1 • The Challenge of Heroism 21

 ACTIVITY 1.6
The Departure
continued

immortality strengthened by the touchstone of very real gunpowder; ramrod, Minié

My Notes ball and flint. But without these last the boy felt his family move yet farther off away in
the dark, as if one of those great prairie-burning trains had chanted them away never
to return—leaving him with this drum which was worse than a toy in the game to be
played tomorrow or some day much too soon.
13 The boy turned on his side. A moth brushed his face, but it was peach blossom.
A peach blossom flicked him, but it was a moth. Nothing stayed put. Nothing had a
name. Nothing was as it once was.
14 If he lay very still when the dawn came up and the soldiers put on their bravery
with their caps, perhaps they might go away, the war with them, and not notice him
lying small here, no more than a toy himself.
15 Well … now,” said a voice.
KEY IDEAS AND DETAILS
16 The boy shut up his eyes to hide inside himself, but it was too late. Someone,
At the beginning of the story,
what is the boy’s perspective
walking by in the night, stood over him.
or point of view about his 17 “Well,” said the voice quietly, “here’s a soldier crying before the fight. Good. Get it
role in the war? Compare his over. Won’t be time once it all starts.”
perspective with the general’s
perspective. 18 And the voice was about to move on when the boy, startled, touched the drum at
his elbow. The man above, hearing this, stopped. The boy could feel his eyes, sense him
KEY IDEAS AND DETAILS slowly bending near. A hand must have come down out of the night, for there was a
What is significant about how little rat-tat as the fingernails brushed and the man’s breath fanned his face.
Joby joined the army? 19 “Why, it’s the drummer boy, isn’t it?”

20 The boy nodded not knowing if his nod was seen. “Sir, is that you?” he said.
KEY IDEAS AND DETAILS
The general comforts Joby 21 “I assume it is.” The man’s knees cracked as he bent still closer.
by saying he also cried
(paragraph 32). What is 22 He smelled as all fathers should smell, of salt sweat, ginger, tobacco, horse, and
different about why the two boot leather, and the earth he walked upon. He had many eyes. No, not eyes—brass
characters cried? buttons that watched the boy.
23 He could only be, and was, the general.

© 2014 College Board. All rights reserved.

24 “What’s your name, boy?” he asked.

25 “Joby,” whispered the boy, starting to sit up.

26 “All right Joby, don’t stir.” A hand pressed his chest gently and the boy relaxed.
“How long you been with us, Joby?”
27 “Three weeks, sir.”

28 “Run off from home or joined legitimately, boy?”

29 Silence.

30 “. . . Fool question,” said the general. “Do you shave yet, boy? Even more of a … fool.
There’s your cheek, fell right off the tree overhead. And the others here not much older.
Raw, raw, the lot of you. You ready for tomorrow or the next day, Joby?”
31 “I think so, sir.”
32 “You want to cry some more, go on ahead. I did the same last night.”

33 “You, sir?”

1 Minié ball: a type of rifle bullet that became prominent during the Civil War

22 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.6
continued

34 “It’s the truth. Thinking of everything ahead. Both sides figuring the other side will
just give up, and soon, and the war done in weeks, and us all home. Well, that’s not how My Notes
it’s going to be. And maybe that’s why I cried.”
35 Yes, sir,” said Joby.

36 The general must have taken out a cigar now, for the dark was suddenly filled with
the smell of tobacco unlit as yet, but chewed as the man thought what next to say.
37 “It’s going to be a crazy time,” said the general. “Counting both sides, there’s a
KEY IDEAS AND DETAILS
hundred thousand men, give or take a few thousand out there tonight, not one as can
Summarize the drummer
spit a sparrow off a tree, or knows a horse clod from a Minié ball. Stand up, bare the
boy’s importance to the
breast, ask to be a target, thank them and sit down, that’s us, that’s them. We should
army, according to the
turn tail and train four months, they should do the same. But here we are, taken with general.
spring fever and thinking it blood lust, taking our sulfur with cannons instead of with
molasses, as it should be, going to be a hero, going to live forever. And I can see all of
them over there nodding agreement, save the other way around. It’s wrong, boy, it’s
wrong as a head put on hindside front and a man marching backward through life…
More innocents will get shot out of pure … enthusiasm than ever got shot before. Owl
Creek was full of boys splashing around in the noonday sun just a few hours ago. I fear
it will be full of boys again, just floating, at sundown tomorrow, not caring where the
tide takes them.”
38 The general stopped and made a little pile of winter leaves and twigs in the
darkness, as if he might at any moment strike fire to them to see his way through the
coming days when the sun might not show its face because of what was happening here
and just beyond.
39 The boy watched the hand stirring the leaves and opened his lips to say something,
but did not say it. The general heard the boy’s breath and spoke himself.
40 “Why am I telling you this? That’s what you wanted to ask, eh? Well, when you got
a bunch of wild horses on a loose rein somewhere somehow you got to bring order,
rein them in. These lads, fresh out of the milkshed, don’t know what I know, and I can’t
tell them: men actually die in war. So each is his own army. I got to make one army of
them. And for that, boy, I need you.
© 2014 College Board. All rights reserved.

41 “Me!” The boy’s lips barely twitched.

42 “Now, boy,” said the general quietly, “you are the heart of the army. Think of that.
You’re the heart of the army. Listen, now.”
43 And, lying there, Joby listened. And the general spoke on.

44 If he, Joby, beat slow tomorrow, the heart would beat slow in the men. They would
lag by the wayside. They would drowse in the fields on their muskets. They would sleep
for ever, after that, in those same fields—their hearts slowed by a drummer boy and
stopped by enemy lead.
45 But if he beat a sure, steady, ever faster rhythm, then, then their knees would come
up in a long line down over that hill, one knee after the other, like a wave on the ocean
shore! Had he seen the ocean ever? Seen the waves rolling in like a well-ordered cavalry
charge to the sand? Well, that was it that’s what he wanted, that’s what was needed! Joby
was his right hand and his left. He gave the orders, but Joby set the pace!

Unit 1 • The Challenge of Heroism 23

 ACTIVITY 1.6
The Departure
continued

46 So bring the right knee up and the right foot out and the left knee up and the left
KEY IDEAS AND DETAILS foot out. One following the other in good time, in brisk time. Move the blood up the
Notice how paragraph 46, body and made the head proud and the spine stiff and the jaw resolute. Focus the eye
beginning, “So bring the and set the teeth, flare the nostrils and tighten the hands, put steel armor all over the
right …” speeds up the pace men, for blood moving fast in them does indeed make men feel as if they’d put on steel.
of the story. Examine the He must keep at it, at it! Long and steady, steady and long! The men, even though shot
paragraph and determine or torn, those wounds got in hot blood—in blood he’d helped stir—would feel less
how the author makes the pain. If their blood was cold, it would be more than slaughter, it would be murderous
reader and Joby feel the nightmare and pain best not told and no one to guess.
excitement of the general.
47 The general spoke and stopped, letting his breath slack off. Then after a moment, he
said, “So there you are, that’s it. Will you do that, boy? Do you know now you’re general
of the army when the general’s left behind?”
My Notes
48 The boy nodded mutely.

49 “You’ll run them through for me then boy?”

50 “Yes, sir.”

51 “Good. And maybe, many nights from tonight, many years from now, when you’re
as old or far much older than me, when they ask you what you did in this awful time,
you will tell them—one part humble and one part proud—‘I was the drummer boy at
the battle of Owl Creek,’ or the Tennessee River, or maybe they’ll just name it after the
church there. ‘I was the drummer boy at Shiloh.’ Who will ever hear those words and
not know you, boy, or what you thought this night, or what you’ll think tomorrow or
the next day when we must get up on our legs and move!”
52 The general stood up. “Well then … Bless you, boy. Good night.”

53 “Good night, sir.” And tobacco, brass, boot polish, salt sweat and leather, the man
moved away through the grass.
54 Joby lay for a moment, staring but unable to see where the man had gone. He
swallowed. He wiped his eyes. He cleared his throat. He settled himself. Then, at last,
very slowly and firmly, he turned the drum so that it faced up toward the sky.

© 2014 College Board. All rights reserved.

55 He lay next to it, his arm around it, feeling the tremor, the touch, the muted
thunder as, all the rest of the April night in the year 1862, near the Tennessee River, not
far from the Owl Creek, very close to the church named Shiloh, the peach blossoms fell
on the drum.

24 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.6
continued

After Reading
5. Summarize the Departure Stage of the Hero’s Journey as it relates to Joby in My Notes
“The Drummer Boy.” Embed at least one direct quotation in your summary to
strengthen your response.

6. Write a theme statement to express how Joby is now ready to start his journey.
How did the writer communicate this idea? Provide textual evidence to support
your interpretation.
Theme:

Evidence:

7. Reread a chunk of the text to identify and evaluate the narrative elements listed
in the graphic organizer on the next page.
© 2014 College Board. All rights reserved.

Unit 1 • The Challenge of Heroism 25

 ACTIVITY 1.6
The Departure
continued

Structure: Exposition What descriptive detail does How effective is the

the author provide? description?

Setting

Character

Conflict

Techniques How does the author use each How effective is the author’s
element to develop the story? technique?

Description

Dialogue

© 2014 College Board. All rights reserved.

Pacing

Check Your Understanding

My Notes Use your imagination to create an original hero. In the left column (or on notebook
paper or in your Reader/Writer Notebook), sketch your image of a hero. Label
unique characteristics and give him or her a meaningful name. In the right column,
brainstorm ideas for a story.

26 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.6
continued

The Hero: __________________ The Story Exposition My Notes

(name)

Use these questions to spark ideas. Setting: (In what kind of place does
Is the hero male or female? Young your hero live? Does he or she live in
or old? Beautiful or unattractive? the past, present, or future?)
Well-liked or misunderstood?
Conspicuous (obvious) or
nondescript (ordinary)?

Character: (What are the hero’s

strengths and weaknesses? Who are
the hero’s family and friends? What
does the hero do every day? What
does the hero want in life? What do
others want from the hero?)

Conflicts: (What challenges might

the hero experience? How might
the hero transform into someone
stronger?)
© 2014 College Board. All rights reserved.

Writing Prompt: Think about the hero you just envisioned. What might the hero
experience in the Departure Stage of his or her journey? Draft the beginning of
a narrative using the three steps in this stage (The Call, The Refusal, and The
Beginning) to guide your structure and development. Be sure to:
• Establish a context (exposition) and point of view (first person or third person).
• Use narrative techniques such as dialogue, pacing, and description to develop
experiences, events, and/or characters.
• Use details and imagery to create mood.

Visualize an event in your draft. Use visual techniques to capture imagery,

emphasize an important idea, and/or add interest.

Unit 1 • The Challenge of Heroism 27

ACTIVITY The Initiation
1.7

Learning Targets
LEARNING STRATEGIES: • Analyze an excerpt of an epic poem for archetype and narrative techniques.
Marking the Text,
Note-taking, Shared Reading, • Demonstrate understanding of these concepts by drafting and illustrating an
Close Reading, Rereading, event in a hero’s Road of Trials.
Diffusing, Skimming/Scanning,
Visualizing Before Reading
1. What does initiation mean? How have you heard it used? What is the
connotation?

WORD
CONNECTIONS
Roots and Affixes
The word initiation has at 2. Why would Joseph Campbell use initiation to label the middle stage of the
its root -init-, which comes Hero’s Journey?
from the Latin word initialis,
meaning “beginning.” You
find this root in many words
that have “beginning” as part
of their meaning, including
initial, initiate, initials, initially,
initiative, initiator, and initialize. 3. Mythical heroes are archetypal characters. What are some common
Given what you know about characteristics of these characters?
these words and about the Physical:
meaning of the root -init-, what
do you think these words mean?
Mental:

My Notes

© 2014 College Board. All rights reserved.

4. What type of conflicts do these characters typically face?

Literary Terms
An epic is a long narrative During Reading
about the deeds of heroes
or gods. 5. As you read an excerpt from the Odyssey, use the chart on the next page to
make observations and inferences about Odysseus’s character: analyze his
appearance, words, actions, thoughts and feelings, and others’ reactions.
Mark the textual evidence and annotate the text in the margins to record
your analysis. Take notes on Odysseus’s physical and mental challenges
as they occur.

28 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.7
continued

Element of Character Description Analysis

Development

Appearance
(Adjectives)

Actions
(Verbs)

Words
(Verbs)

Thoughts/Feelings
© 2014 College Board. All rights reserved.

Others’ Reactions

The Road of Trials (physical and mental challenges) and Outcome (success or failure)
1.

2.

3.

Unit 1 • The Challenge of Heroism 29

 ACTIVITY 1.7
The Initiation
continued

ABOUT THE AUTHOR

My Notes
Homer is the traditionally accepted author of two famous epic poems, the
Iliad and the Odyssey. No biography of Homer exists, and scholars disagree
about whether he was the sole author or whether Homer was a name chosen
by several writers who contributed to the works. Some scholars believe that
the poems evolved through oral tradition over a period of centuries and are
the collective work of many poets.

the Odyssey
From

by Homer
Translation by Tony Kline

Book IX: 152–192

ODYSSEUS TELLS HIS TALE: THE CYCLOPS’ CAVE
1 Looking across to the land of the neighboring Cyclops,1 we could see smoke and
KEY IDEAS AND DETAILS hear their voices, and the sound of their sheep and goats. Sun set and darkness fell, and
How does the setting prepare we settled to our rest on the shore.
the reader for a conflict with
Polyphemus, the Cyclops? 2 As soon as rosy-fingered Dawn appeared, I gathered my men together, saying: “The
rest of you loyal friends stay here, while I and my crew take ship and try and find out
who these men are, whether they are cruel, savage and lawless, or good to strangers,
and in their hearts fear the gods.”
3 With this I went aboard and ordered my crew to follow and loose the cables. They

© 2014 College Board. All rights reserved.

boarded swiftly and took their place on the benches then sitting in their rows struck the
grey water with their oars. When we had reached the nearby shore, we saw a deep cave
overhung with laurels at the cliff ’s edge close to the sea. Large herds of sheep and goats
were penned there at night and round it was a raised yard walled by deep-set stones,
tall pines and high-crowned oaks. There a giant spent the night, one that grazed his
herds far off, alone, and keeping clear of others, lived in lawless solitude. He was born a
monster and a wonder, not like any ordinary human, but like some wooded peak of the
high mountains, that stands there isolated to our gaze.

Book IX: 193–255

ODYSSEUS TELLS HIS TALE: POLYPHEMUS RETURNS
4 Then I ordered the rest of my loyal friends to stay there and guard the ship,
while I selected the twelve best men and went forward. I took with me a goatskin
filled with dark sweet wine that Maron, son of Euanthes, priest of Apollo, guardian
god of Ismarus, had given me, because out of respect we protected him, his wife and
child. He offered me splendid gifts, seven talents of well-wrought gold, and a silver

1 Cyclops: one-eyed giants

30 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.7
continued

mixing-bowl: and wine, twelve jars in all, sweet unmixed wine, a divine draught. None
of his serving-men and maids knew of this store, only he and his loyal wife, and one My Notes
housekeeper. When they drank that honeyed red wine, he would pour a full cup into
twenty of water, and the bouquet that rose from the mixing bowl was wonderfully
sweet: in truth no one could hold back. I filled a large goatskin with the wine, and took
it along, with some food in a bag, since my instincts told me the giant would come at
us quickly, a savage being with huge strength, knowing nothing of right or law.
5 Soon we came to the cave, and found him absent; he was grazing his well-fed
flocks in the fields. So we went inside and marveled at its contents. There were baskets
full of cheeses, and pens crowded with lambs and kids, each flock with its firstlings,
later ones, and newborn separated. The pails and bowls for milking, all solidly made,
were swimming with whey. At first my men begged me to take some cheeses and go,
then to drive the lambs and kids from the pens down to the swift ship and set sail. But
I would not listen, though it would have been best, wishing to see the giant himself,
and test his hospitality. When he did appear he proved no joy to my men.
6 So we lit a fire and made an offering, and helped ourselves to the cheese, and sat in
the cave eating, waiting for him to return, shepherding his flocks. He arrived bearing KEY IDEAS AND DETAILS
a huge weight of dry wood to burn at suppertime, and he flung it down inside the cave What does the following
with a crash. Gripped by terror we shrank back into a deep corner. He drove his well- quote reveal about
fed flocks into the wide cave, the ones he milked, leaving the rams and he-goats outside Odysseus’ character?
in the broad courtyard. Then he lifted his door, a huge stone, and set it in place. Twenty- “But I would not listen,
two four-wheeled wagons could not have carried it, yet such was the great rocky mass though it would have been
he used for a door. Then he sat and milked the ewes, and bleating goats in order, putting best, wishing to see the
her young to each. Next he curdled half of the white milk, and stored the whey in giant himself, and test his
hospitality. When he did
wicker baskets, leaving the rest in pails for him to drink for his supper. When he had
appear he proved no joy to
busied himself at his tasks, and kindled a fire, he suddenly saw us, and said: “Strangers,
my men.”
who are you? Where do you sail from over the sea-roads? Are you on business, or do
you roam at random, like pirates who chance their lives to bring evil to others?”

Book IX: 256–306

© 2014 College Board. All rights reserved.

ODYSSEUS TELLS HIS TALE: TRAPPED

7 Our spirits fell at his words, in terror at his loud voice and monstrous size.
Nevertheless I answered him, saying; “We are Achaeans, returning from Troy, driven
over the ocean depths by every wind that blows. Heading for home we were forced to
take another route, a different course, as Zeus,1 I suppose, intended. We are followers of
Agamemnon, Atreus’ son, whose fame spreads widest on earth, so great was that city he
sacked and host he slew. But we, for our part, come as suppliant to your knees, hoping
for hospitality, and the kindness that is due to strangers. Good sir, do not refuse us:
respect the gods. We are suppliants and Zeus protects visitors and suppliants, Zeus the
god of guests, who follows the steps of sacred travelers.”
8 His answer was devoid of pity. “Stranger, you are a foreigner or a fool, telling me
to fear and revere the gods, since the Cyclopes care nothing for aegis-bearing Zeus: we
are greater than they. I would spare neither you nor your friends, to evade Zeus’ anger,
but only as my own heart prompted. But tell me, now, where you moored your fine ship, KEY IDEAS AND DETAILS
Based on the words and
when you landed. Was it somewhere nearby, or further off ? I’d like to know.”
actions of the Cyclops,
how would you describe
his character and his
perspective?
1 Zeus: the king of the gods

Unit 1 • The Challenge of Heroism 31

 ACTIVITY 1.7
The Initiation
continued

9 His words were designed to fool me, but failed. I was too wise for that, and
My Notes answered him with cunning words: “Poseidon,1 Earth-Shaker, smashed my ship
to pieces, wrecking her on the rocks that edge your island, driving her close to the
headland so the wind threw her onshore. But I and my men here escaped destruction.”
10 Devoid of pity, he was silent in response, but leaping up laid hands on my crew. Two
he seized and dashed to the ground like whelps, and their brains ran out and stained the
earth. He tore them limb from limb for his supper, eating the flesh and entrails, bone and
marrow, like a mountain lion, leaving nothing. Helplessly we watched these cruel acts,
raising our hands to heaven and weeping. When the Cyclops had filled his huge stomach
KEY IDEAS AND DETAILS
with human flesh, and had drunk pure milk, he lay down in the cave, stretched out among
Analyze Odysseus’s thoughts:
What does the reflection
his flocks. Then I formed a courageous plan to steal up to him, draw my sharp sword,
below reveal about his and feeling for the place where the midriff supports the liver, stab him there. But the next
character? thought checked me. Trapped in the cave we would certainly die, since we’d have no way to
move the great stone from the wide entrance. So, sighing, we waited for bright day.
“His words were designed to
fool me, but failed. I was too
wise for that, and answered
him with cunning words.”
Book IX: 307–359
ODYSSEUS TELLS HIS TALE: OFFERING THE CYCLOPS WINE
KEY IDEAS AND DETAILS 11 As soon as rosy-fingered Dawn appeared, Cyclops relit the fire. Then he milked
Which visual techniques the ewes, and bleating goats in order, putting her young to each. When he had busied
would you use to capture this himself at his tasks, he again seized two of my men and began to eat them. When he
event? How could you visually had finished he drove his well-fed flocks from the cave, effortlessly lifting the huge door
represent the descriptive and stone, and replacing it again like the cap on a quiver. Then whistling loudly he turned
figurative imagery? his flocks out on to the mountain slopes, leaving me with murder in my heart searching
for a way to take vengeance on him, if Athene2 would grant me inspiration. The best
plan seemed to be this:
12 The Cyclops’ huge club, a trunk of green olive wood he had cut to take with him as
soon as it was seasoned, lay next to a sheep pen. It was so large and thick that it looked to
us like the mast of a twenty-oared black ship, a broad-beamed merchant vessel that sails
the deep ocean. Approaching it, I cut off a six-foot length, gave it to my men and told them
to smooth the wood. Then standing by it I sharpened the end to a point, and hardened the

© 2014 College Board. All rights reserved.

point in the blazing fire, after which I hid it carefully in a one of the heaps of dung that lay
around the cave. I ordered the men to cast lots as to which of them should dare to help me
raise the stake and twist it into the Cyclops’ eye when sweet sleep took him. The lot fell on
the very ones I would have chosen, four of them, with myself making a fifth.
13 He returned at evening, shepherding his well-fed flocks. He herded them swiftly,
every one, into the deep cave, leaving none in the broad yard, commanded to do so by
a god, or because of some premonition. Then he lifted the huge door stone and set it in
place, and sat down to milk the ewes and bleating goats in order, putting her young to
each. But when he had busied himself at his tasks, he again seized two of my men and
began to eat them. That was when I went up to him, holding an ivy-wood bowl full of
dark wine, and said: “Here, Cyclops, have some wine to follow your meal of human flesh,
so you can taste the sort of drink we carried in our ship. I was bringing the drink to you as
a gift, hoping you might pity me and help me on my homeward path: but your savagery
is past bearing. Cruel man, why would anyone on earth ever visit you again, when you
behave so badly?”

1 Poseidon: god of the sea and of earthquakes

2 Athene: goddess of wisdom, the arts, and war

32 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.7
continued

14 At this, he took the cup and drained it, and found the sweet drink so delightful
he asked for another draught: “Give me more, freely, then quickly tell me your name My Notes
so I may give you a guest gift, one that will please you. Among us Cyclopes the fertile
earth produces rich grape clusters, and Zeus’ rain swells them: but this is a taste from a
stream of ambrosia and nectar.”

Book IX: 360–412

ODYSSEUS TELLS HIS TALE: BLINDING THE CYCLOPS
15 As he finished speaking I handed him the bright wine. Three times I poured and
gave it to him, and three times, foolishly, he drained it. When the wine had fuddled his
wits I tried him with subtle words: “Cyclops, you asked my name, and I will tell it: give
me afterwards a guest gift as you promised. My name is Nobody. Nobody, my father,
KEY IDEAS AND DETAILS
mother, and friends call me.”
Highlight the verbs used in
16 Those were my words, and this his cruel answer: “Then, my gift is this. I will eat the blinding of the Cyclops.
Nobody last of all his company, and all the others before him.” What effect do these verbs
have on the pacing of this
17 As he spoke, he reeled and toppled over on his back, his thick neck twisted to one event?
side, and all-conquering sleep overpowered him. In his drunken slumber he vomited
wine and pieces of human flesh. Then I thrust the stake into the depth of the ashes to
heat it, and inspired my men with encouraging words, so none would hang back from
fear. When the olivewood stake was glowing hot, and ready to catch fire despite its
greenness, I drew it from the coals, then my men stood round me, and a god breathed
courage into us. They held the sharpened olivewood stake, and thrust it into his eye,
while I threw my weight on the end, and twisted it round and round, as a man bores
the timbers of a ship with a drill that others twirl lower down with a strap held at
both ends, and so keep the drill continuously moving. We took the red-hot stake and
twisted it round and round like that in his eye, and the blood poured out despite the
heat. His lids and brows were scorched by flame from the burning eyeball, and its
roots crackled with fire. As a great axe or adze causes a vast hissing when the smith
dips it in cool water to temper it, strengthening the iron, so his eye hissed against the
olivewood stake. Then he screamed, terribly, and the rock echoed. Seized by terror we
© 2014 College Board. All rights reserved.

shrank back, as he wrenched the stake, wet with blood, from his eye. He flung it away
in frenzy, and called to the Cyclops, his neighbors who lived in caves on the windy
heights. They heard his cry, and crowding in from every side they stood by the cave
mouth and asked what was wrong: “Polyphemus, what terrible pain is this that makes
you call through deathless night, and wake us? Is a mortal stealing your flocks, or
trying to kill you by violence or treachery?”
18 Out of the cave came mighty Polyphemus’ voice: “Nobody, my friends, is trying to
kill me by violence or treachery.”
19 To this they replied with winged words: “If you are alone, and nobody does you
violence, it’s an inescapable sickness that comes from Zeus: pray to the Lord Poseidon,
our father.”

Unit 1 • The Challenge of Heroism 33

 ACTIVITY 1.7
The Initiation
continued

Book IX: 413–479

My Notes ODYSSEUS TELLS HIS TALE: ESCAPE
20 Off they went, while I laughed to myself at how the name and the clever scheme
had deceived him. Meanwhile the Cyclops, groaning and in pain, groped around and
labored to lift the stone from the door. Then he sat in the entrance, arms outstretched,
to catch anyone stealing past among his sheep. That was how foolish he must have
thought I was. I considered the best way of escaping, and saving myself, and my men
from death. I dreamed up all sorts of tricks and schemes, as a man will in a life or death
matter: it was an evil situation. This was the plan that seemed best. The rams were fat
with thick fleeces, fine large beasts with deep black wool. These I silently tied together
in threes, with twists of willow on which that lawless monster, Polyphemus, slept. The
middle one was to carry one of my men, with the other two on either side to protect
him. So there was a man to every three sheep. As for me I took the pick of the flock, and
curled below his shaggy belly, gripped his back and lay there face upwards, patiently
gripping his fine fleece tight in my hands. Then, sighing, we waited for the light.
21 As soon as rosy-fingered Dawn appeared, the males rushed out to graze, while the
un-milked females udders bursting bleated in the pens. Their master, tormented by
agonies of pain, felt the backs of the sheep as they passed him, but foolishly failed to see
KEY IDEAS AND DETAILS my men tied under the rams’ bellies. My ram went last, burdened by the weight of his
What does this dialogue fleece, and me and my teeming thoughts. And as he felt its back, mighty Polyphemus
reveal about the character of spoke to him:
the Cyclops?
22 “My fine ram, why leave the cave like this last of the flock? You have never lagged
behind before, always the first to step out proudly and graze on the tender grass shoots,
always first to reach the flowing river, and first to show your wish to return at evening
to the fold. Today you are last of all. You must surely be grieving over your master’s eye,
blinded by an evil man and his wicked friends, when my wits were fuddled with wine:
Nobody, I say, has not yet escaped death. If you only had senses like me, and the power
of speech to tell me where he hides himself from my anger, then I’d strike him down, his
brains would be sprinkled all over the floor of the cave, and my heart would be eased of
the pain that nothing, Nobody, has brought me.”

© 2014 College Board. All rights reserved.

23 With this he drove the ram away from him out of doors, and I loosed myself when
the ram was a little way from the cave, then untied my men. Swiftly, keeping an eye
behind us, we shepherded those long-limbed sheep, rich and fat, down to the ship. And
KEY IDEAS AND DETAILS a welcome sight, indeed, to our dear friends were we, escapees from death, though they
The adventure on the “Road wept and sighed for the others we lost. I would not let them weep though, but stopped
of Trials” concludes with them all with a nod and a frown. I told them to haul the host of fine-fleeced sheep on
Odysseus having the last word board and put to sea. They boarded swiftly and took their place on the benches then
of dialogue. Is this an effective sitting in their rows struck the grey water with their oars. When we were almost out of
way to end? Why or why not? earshot, I shouted to the Cyclops, mocking him: “It seems he was not such a weakling,
then, Cyclops, that man whose friends you meant to tear apart and eat in your echoing
cave. Stubborn brute not shrinking from murdering your guests in your own house,
your evil deeds were bound for sure to fall on your own head. Zeus and the other gods
have had their revenge on you.”

34 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.7
continued

After Reading
WORD
6. Which step in the Intitiation Stage would best describe these chapters from CONNECTIONS
the Odyssey?
Analogies
An analogy shows a
relationship between words
and is often written using
colons; for example, giant :
7. Analyze the structure of the narrative: Map out the sequence of events. What is
Cyclops :: clever : Odysseus.
the turning point for Odysseus and his men? This analogy means that giant
describes Cyclops just as
clever describes Odysseus.
To write an analogy, first
determine the relationship
between the words. For
example, how would you
complete this analogy?
sweet : syrup :: soft :

My Notes

8. Analyze the transitions used in the storytelling. How does the author use
transitions to convey sequence and signal shifts?

9. What is the mood of this advent ure? How does the author create the mood?
© 2014 College Board. All rights reserved.

Check Your Understanding

Writing Prompt: Think about the hero you created in the previous activity. What
might the hero experience in the Initiation Stage of his or her journey? Draft an
event using your understanding of the Road of Trials to guide your structure and
development. Be sure to:
• Use narrative techniques such as dialogue, pacing, and description, and to
develop experiences, events, and/or characters.
• Use diction, detail, and imagery to create tone and mood.
• Sequence the event logically and naturally, and use transitions to
connect ideas.

Visualize a key moment in the event. Use visual techniques to capture imagery,
emphasize an important idea, and/or add interest. Challenge yourself to use a
different combination of visual techniques for effect in each frame.

Unit 1 • The Challenge of Heroism 35

ACTIVITY Language and Writer’s Craft:
1.8 Revising and Editing
Learning Targets
LEARNING STRATEGIES: • Identify effective techniques and strategies for writing groups.
Collaborative Discussion,
Sharing and Responding, • Participate in collaborative discussions to revise and edit a narrative draft.
Summarizing, Self-Editing/
Peer- Editing Participating in Writing Groups
1. Describe your past experience with working in writing groups. Were they helpful
in improving your writing? Explain.

My Notes

Writing Group Roles

For groups to be effective, each member must participate to help achieve the goals
of the group. The purpose of writing groups is to:
• Provide an open-minded place to read, respond to, and revise writing.
• Provide meaningful feedback to improve writing based on specific criteria.
• Create specific roles to solicit and manage sharing and responding.
• Focus on posing open-ended questions for the writer to consider.

Writing group members have roles and responsibilities.

Role Guidelines Discussion / Response Starters

The Reader: The Reader’s purpose is to share an Reader’s and Listeners’ compliments:
Reads the text understanding of the writer’s words. • I liked the words you used, such as . . .
silently, then The Reader sees the physical structure • I like the way you described . . .
aloud. Begins the of the draft and may comment on that
as well. • This piece made me feel . . .
conversation after

© 2014 College Board. All rights reserved.

reading. The Reader follows all listeners’ • This piece reminded me of . . .
guidelines as well. • I noticed your use of from the Hero’s
Journey when you . . .

The Listeners: The Listeners begin with positive Reader’s and Listeners’ comments and
Take notes and statements, using “I” statements to suggestions:
prepare open- talk about the writing, not the writer. • I really enjoyed the part where . . .
ended questions The Listeners use the writer’s checklist • What parts are you having trouble with?
for the writer or to produce thoughtful questions that
will help strengthen the writing. • What do you plan to do next?
make constructive
statements. • I was confused when . . .

36 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.8
continued

The Writer: As his or her work is being read aloud Writer’s questions:
Listens to the by another, the Writer can get an • What do you want to know more about?
draft, takes notes, overall impression of the piece.
• Which part does not make sense?
responds to The Writer takes notes on needed
changes. • Which section of the text does not work?
questions, and
asks questions for The Writer asks questions to get • How can I improve this part?
clarification. feedback that will lead to effective
revision.

2. Summarize the purpose and process of working in a successful writing group.

My Notes

The Revision Process

Very few people are able to write a perfect first draft, so revising is a typical part
of the writing process—even for famous writers. In an interview done for The Paris
Review in 1956, the interviewer asked Ernest Hemingway about his writing.
Interviewer: How much rewriting do you do?
Hemingway: It depends. I rewrote the ending of Farewell to Arms, the last page
of it, 39 times before I was satisfied.
Interviewer: Was there some technical problem there? What was it that had
stumped you?
Hemingway: Getting the words right.
(From Ernest Hemingway, “The Art of Fiction,” The Paris Review Interview, 1956)

3. Writing groups can help you revise and get your words right. In the last two
activities, you started a narrative about a hero. As you think about revising
your draft, what are some guiding questions you might ask? You might use the
© 2014 College Board. All rights reserved.

Embedded Assessment 1 Scoring Guide to prompt your questions to focus on

ideas, organization, and your use of language.

Introducing the Strategy: Self-Editing, Peer Editing

Editing your writing is a part of the writing process (self-editing). This strategy
can be used with a partner (peer editing) to examine a text closely to identify
areas that may need to be corrected for language, grammar, punctuation,
capitalization, or spelling.

Unit 1 • The Challenge of Heroism 37

 ACTIVITY 1.8
Language and Writer’s Craft:
continued Revising and Editing
4. In addition to asking questions, having a writer’s checklist can help you revise.
My Notes Next you will work with members of your writing group to create, on separate
paper, a writer’s checklist for your Hero’s Journey narrative. This checklist
should reflect your group’s ideas about the following:
• Ideas: Think of the purpose of the writing, the topic, and the details.
• Structure: Think of the writing mode and purpose, as well as organization of
the writing.
• Use of language: Think about figurative language, descriptive details,
transitions, diction, etc.
You may want to check the Scoring Guide for Embedded Assessment 1 for
further ideas.

5. After completing your writer’s checklist, your writing group will read and discuss
each member’s draft of the Hero’s Journey narrative. Group members should
trade roles of Reader, Listener, and Writer as they proceed through each draft,
following the information in the chart on the previous pages.

Using Resources and References to Revise

How does a writer improve a text through revision? Deep revision takes time and
effort. Skilled writers do the following:
• Add ideas and language to enhance effect.
• Delete irrelevant, unclear, and repetitive ideas and language to improve
pacing and effect.
• Rearrange ideas to improve sequence.
• Substitute ideas and language for effect.

6. Use the writer’s checklist you created, the feedback from your peers, and the
revision strategies above to guide your revision. Share one of your revisions
with the class by explaining specifically what you revised and how it improved
your writing.

© 2014 College Board. All rights reserved.

Editing a Draft
7. New writers sometimes confuse revision with editing or proofreading. Both
are extremely important in creating a polished piece of writing, but they are
different and separate processes.
• Revision focuses on ideas, organization, and language and involves adding,
deleting, rearranging, and substituting words, sentences, and entire
paragraphs.

38 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.8
continued

• Editing focuses on conventions of standard English and involves close

proofreading and consulting reference sources to correct errors in grammar GRAMMAR USAGE
and usage, capitalization, punctuation, and spelling. Mood
• After drafting a text, students often either revise or edit rather than doing Mood is the form of the verb
both. Skipping either step in the writing process greatly affects the quality of that shows the mode or
one’s final draft. manner in which a thought
is expressed.

Language and Writer’s Craft: Verbs and Mood

Strong writers form and use verbs in the correct mood.. The list below shows the
moods of English verbs. Most of these should be familiar to you because you use My Notes
them all the time in your writing. Rank the moods 1–5 for your familiarity with each
one, 1 being most familiar and 5 being least familiar.
Indicative Mood: Verbs that indicate a fact or opinion.
I am too ill to go to school today.
Imperative Mood: Verbs that express a command or request.
Go to school. Please get up and get dressed.
Interrogative Mood: Verbs that ask a question.
Are you going to school? Do you feel ill?
Conditional Mood: Verbs that express something that hasn’t happened or
something that can happen if a certain condition is met.
I would have gone to school yesterday if I had felt well.
You should ask your teacher about the assignments you missed.
Subjunctive Mood: Verbs that describe a state that is uncertain or contrary to fact.
When using the verb “to be” in the subjunctive, always use were rather than was.
I wish my cold were better today.
If you were to go to school, what would you learn?
© 2014 College Board. All rights reserved.

8. Look at this excerpt from A Wrinkle in Time and identify how the author uses
mood in each sentence.

(1) Below them the town was laid out in harsh angular patterns. (2) The houses in the
outskirts were all exactly alike, small square boxes painted gray. (3) Each had a
small, rectangular plot of lawn in front, with a straight line of dull-looking flowers
edging the path to the door. (4) Meg had a feeling that if she could count the
flowers there would be exactly the same number for each house. (5) In front of all
the houses children were playing.

Unit 1 • The Challenge of Heroism 39

 ACTIVITY 1.8
Language and Writer’s Craft:
continued Revising and Editing
9. Now look at the verbs in italics in the draft paragraph below. Edit the forms of
My Notes the verbs that do not match the mood of the sentence in which they appear.
Write the correct verb above the incorrect one.

(1) Jera could look at the great troll that now blocked her path. (2) It should
have swung its enormous club through the air almost lazily, though it wasn’t yet
moving toward her. (3) “What if it was to attack?” Jera thought. (4) “I can make
a plan.” (5) She scanned the area immediately around her and looked for a means
of escape. (6) “If I was to jump across the brook,” she thought, “I can reach that
small cave.” (7) She jumped to her left as the club descended toward her.

10. Work with the class to create examples for each type of mood:
• Indicative Mood:

• Imperative Mood:

• Interrogative Mood:

• Conditional Mood:

• Subjunctive Mood:

11. Analyze the author’s use of mood in the following excerpt:

© 2014 College Board. All rights reserved.

“Now, boy,” said the general quietly, “you are the heart of the army. Think of that.
You’re the heart of the army. Listen, now.”
And, lying there, Joby listened. And the general spoke on.
If he, Joby, beat slow tomorrow, the heart would beat slow in the men. They would
lag by the wayside. They would drowse in the fields on their muskets. They would sleep for
ever, after that, in those same fields—their hearts slowed by a drummer boy and stopped
by enemy lead.
But if he beat a sure, steady, ever faster rhythm, then, then their knees would come
up in a long line down over that hill, one knee after the other, like a wave on the ocean
shore! Had he seen the ocean ever? Seen the waves rolling in like a well-ordered cavalry
charge to the sand? Well, that’s what he wanted, that’s what was needed! Joby was his right
hand and his left. He gave the orders, but Joby set the pace!

40 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.8
continued

12. Respond to the following questions:

• Which verb moods would you use to show something that might happen? My Notes

• Which verb mood would you use to state a fact?

• Which would you use in commands or demands?

• How does changing the verb mood affect the meaning of your sentence?

Check Your Understanding

It is essential that writers take the time to edit drafts to correct errors in grammar
and usage, capitalization, punctuation, and spelling. Return to your draft and
self-edit and peer edit to strengthen the grammar and language conventions in
your draft. Be sure to create a new writer’s checklist that contains specific areas
of concern.

Reflection: Reflect on your experience:

1. How did working with peers help you to revise and edit?

2. How did your revisions and editing strengthen your draft?

3. Did you meet your speaking and listening goals? Why or why not?
© 2014 College Board. All rights reserved.

Unit 1 • The Challenge of Heroism 41

ACTIVITY The Return
1.9

Learning Targets
LEARNING STRATEGIES: • Analyze a narrative for archetype and narrative techniques.
Marking the Text, Shared
Reading, Close Reading, • Draft and illustrate the final event in a narrative.
Rereading, Diffusing,
Skimming/Scanning, Drafting, The Return
Visualizing
While some stories end once the hero has achieved the Ultimate Boon (the goal he
or she set out to achieve), most stories continue into the final stage: The Return.

Before Reading
WORD
CONNECTIONS 1. Which four steps define The Return? List them in order:

Roots and Affixes

The prefix re-, as in return, is a
very common and useful Latin
prefix that means “again” or
“back.” You can see it in many
English words, such as replay,
rewrite, replace, regenerate,
reproduce, recall, recreate,
and so on. 2. What is the purpose of this final stage?

My Notes
3. What might keep a hero from returning home?

During Reading

© 2014 College Board. All rights reserved.

4. As you read, analyze the text to identify stages and steps in the Hero’s Journey.
Mark the text to indicate evidence of each step. Highlight transitions that
indicate sequencing through time.

42 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.9
continued

Novel
My Notes
from
A Wrinkle inTime
by Madeleine L’Engle
Excerpt from Chapter 12, “The Foolish and the Weak”

This excerpt comes near the end of Meg Murry’s journey. She has found her
father and they have escaped Camazotz, but they were forced to leave behind
her younger brother Charles Wallace in the grip of the “Black Thing.” Now Meg
must return to Camazotz to get her brother.
1 Immediately Meg was swept into darkness, into nothingness, and then into the icy
devouring cold of the Black Thing. Mrs Which won’t let it get me, she thought over and
over while the cold of the Black Thing seemed to crunch at her bones.
2 Then they were through it, and she was standing breathlessly on her feet on the
same hill on which they had first landed on Camazotz. She was cold and a little numb, GRAMMAR USAGE
but no worse than she had often been in the winter in the country when she had spent Prepositional Phrases
an afternoon skating on the pond. She looked around. She was completely alone. Her
Prepositional phrases
heart began to pound. add detail in sentences by
3 Then, seeming to echo from all around her, came Mrs Which’s unforgettable voice, showing relationships of
“I hhave nnott ggivenn yyou mmyy ggifftt. Yyou hhave ssomethinngg thatt ITT hhass time, direction, or location.
nnott. Thiss ssomethinngg iss yyourr onlly wweapponn. Bbutt yyou mmusstt ffinndd itt Prepositional phrases
fforr yyourrssellff.” Then the voice ceased, and Meg knew that she was alone. function as adjectives or
adverbs. Note the examples
4 She walked slowly down the hill, her heart thumping painfully against her ribs. in Madeleine L’Engle’s
There below her was the same row of identical houses they had seen before, and beyond writing. In paragraph 2, she
these the linear buildings of the city. She walked along the quiet street. It was dark and uses several prepositional
the street was deserted. No children playing ball or skipping rope. No mother figures phrases to add detail:
at the doors. No father figures returning from work. In the same window of each
© 2014 College Board. All rights reserved.

“… she was standing

house was a light, and as Meg walked down the street all the lights were extinguished breathlessly on her feet
simultaneously. Was it because of her presence, or was it simply that it was time for on the same hill on which
lights out? they had first landed on
5 She felt numb, beyond rage or disappointment or even fear. She put one foot ahead Canazotz.”
of the other with precise regularity, not allowing her pace to lag. She was not thinking; The first two prepositional
she was not planning; she was simply walking slowly but steadily toward the city and phrases are adverbial
the domed building where IT lay. phrases because they modify
the verb was standing. The
6 Now she approached the outlying buildings of the city. In each of them was a phrase “on which they had
vertical line of light, but it was a dim, eerie light, not the warm light of stairways in first landed on Canazotz”
cities at home. And there were no isolated brightly lit windows where someone was is an adjective phrase
working late, or an office was being cleaned. Out of each building came one man, modifying the noun hill.
perhaps a watchman, and each man started walking the width of the building. They
In your writing, look for
appeared not to see her, At any rate they paid no attention to her whatsoever, and she
opportunities to add detail
went on past them.
with prepositional phrases.

Unit 1 • The Challenge of Heroism 43

 ACTIVITY 1.9
The Return
continued

7 What have I got that IT hasn’t got? she thought suddenly. What have I possibly got?
My Notes 8 Now she was walking by the tallest of the business buildings. More dim vertical
lines of light. The walls glowed slightly to give a faint illumination to the streets.
CENTRAL Central Intelligence was ahead of her. Was the man with red eyes still sitting
there? Or was he allowed to go to bed? But this was not where she must go, though the
man with red eyes seemed the kind old gentleman he claimed to be when compared
with IT. But he was no longer of any consequence in the search for Charles Wallace. She
must go directly to IT.
9 IT isn’t used to being resisted. Father said that’s how he managed, and how Calvin
and I managed as long as we did. Father saved me then. There’s nobody here to save me
now. I have to do it myself. I have to resist IT by myself. Is that what I have that IT hasn’t
got? No, I’m sure IT can resist. IT just isn’t used to having other people resist.
10 CENTRAL Central Intelligence blocked with its huge rectangle the end of the
square. She turned to walk around it, and almost imperceptibly her steps slowed.
11 It was not far to the great dome which housed IT.

12 I’m going to Charles Wallace. That’s what’s important. That’s what I have to think
of. I wish I could feel numb again the way I did at first. Suppose IT has him somewhere
else? Suppose he isn’t there?
13 I have to go there first, anyhow. That’s the only way I can find out.

14 Her steps got slower and slower as she passed the great bronzed doors, the huge
slabs of the CENTRAL Central Intelligence building, as she finally saw ahead of her the
strange, light, pulsing dome of IT.
15 Father said it was all right for me to be afraid. He said to go ahead and be afraid.
KEY IDEAS AND DETAILS And Mrs Who said—I don’t understand what she said but I think it was meant to
Who seems to be assisting make me not hate being only me, and me being the way I am. And Mrs Whatsit said to
Meg in her quest to rescue remember that she loves me. That’s what I have to think about. Not about being afraid.
her brother Charles Wallace? Or not as smart as IT. Mrs Whatsit loves me. That’s quite something, to be loved by
someone like Mrs Whatsit.

© 2014 College Board. All rights reserved.

16 She was there.

17 No matter how slowly her feet had taken her at the end, they had taken her there.
18 Directly ahead of her was the circular building, its walls glowing with violet flame,
its silvery roof pulsing with a light that seemed to Meg to be insane. Again she could feel
the light, neither warm nor cold, but reaching out to touch her, pulling her toward IT.
19 There was a sudden sucking, and she was within.

20 It was as though the wind had been knocked out of her. She gasped for breath,
for breath in her own rhythm, not the permeating1 pulsing of IT. She could feel the
inexorable2 beat within her body, controlling her heart, her lungs.

1 permeating: flooding
2 inexorable: inescapable

44 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.9
continued

21 But not herself. Not Meg. It did not quite have her.

22 She blinked her eyes rapidly and against the rhythm until the redness before them My Notes
cleared and she could see. There was the brain, there was IT, lying pulsing and quivering
on the dais, soft and exposed and nauseating. Charles Wallace was crouched beside IT,
his eyes still slowly twirling, his jaw still slack, as she had seen him before, with a tic in
his forehead reiterating the revolting rhythm of IT.
23 As she saw him it was again as though she had been punched in the stomach, for
she had to realize afresh that she was seeing Charles, and yet it was not Charles at all.
Where was Charles Wallace, her own beloved Charles Wallace?
24 What is it I have got that IT hasn’t got?

25 “You have nothing that IT hasn’t got,” Charles Wallace said coldly. “How nice to
have you back, dear sister. We have been waiting for you. We knew that Mrs Whatsit
would send you. She is our friend, you know.”
26 For an appalling moment Meg believed, and in that moment she felt her brain
KEY IDEAS AND DETAILS
being gathered up into IT.
What is the power of “the
27 “No!” she screamed at the top of her lungs. “No! You lie!” Black Thing,” of IT, that
Meg must battle against?
28 For a moment she was free from ITs clutches again.

29 As long as I can stay angry enough IT can’t get me.

30 Is that what I have that IT doesn’t have?

31 “Nonsense,” Charles Wallace said. “You have nothing that IT doesn’t have.”

32 “You’re lying,” she replied, and she felt only anger toward this boy who was not
Charles Wallace at all. No, it was not anger, it was loathing; it was hatred, sheer and
unadulterated, and as she became lost in hatred she also began to be lost in IT. The red
miasma swam before her eyes; her stomach churned in ITs rhythm. Her body trembled
with the strength of her hatred and the strength of IT.
33 With the last vestige of consciousness she jerked her mind and body. Hate was
nothing that IT didn’t have. IT knew all about hate.
© 2014 College Board. All rights reserved.

34 “You are lying about that, and you were lying about Mrs Whatsit!” she screamed.
35 “Mrs Whatsit hates you,” Charles Wallace said.

36 And that was where IT made ITs fatal mistake, for as Meg said, automatically, “Mrs
Whatsit loves me; that’s what she told me, that she loves me,” suddenly she knew.
37 She knew!

38 Love.

39 That was what she had that IT did not have.

40 She had Mrs Whatsit’s love, and her father’s, and her mother’s, and the real Charles
Wallace’s love, and the twins’, and Aunt Beast’s.
41 And she had her love for them.

Unit 1 • The Challenge of Heroism 45

 ACTIVITY 1.9
The Return
continued

42 But how could she use it? What was she meant to do?
My Notes 43 If she could give love to IT perhaps it would shrivel up and die, for she was sure
that IT could not withstand love. But she, in all her weakness and foolishness and
baseness and nothingness, was incapable of loving IT. Perhaps it was not too much to
ask of her, but she could not do it.
44 But she could love Charles Wallace.

KEY IDEAS AND DETAILS 45 She could stand there and she could love Charles Wallace.
How does Meg use “the 46 Her own Charles Wallace, the real Charles Wallace, the child for whom she had
Ultimate Boon” to conquer come back to Camazotz, to IT, the baby who was so much more than she was, and who
the power of IT? was yet so utterly vulnerable.

KEY IDEAS AND DETAILS 47 She could love Charles Wallace.

Choose an especially vivid and 48 Charles. Charles, I love you. My baby brother who always takes care of me. Come
significant scene from this back to me, Charles Wallace, come away from IT, come back, come home. I love you,
passage and sketch or draw Charles. Oh, Charles Wallace, I love you.
the image.
49 Tears were streaming down her cheeks, but she was unaware of them.

50 Now she was even able to look at him, at this animated thing that was not her own
Charles Wallace at all. She was able to look and love.
50 I love you. Charles Wallace, you are my darling and my dear and the light of my life
and the treasure of my heart, I love you. I love you. I love you.
51 Slowly his mouth closed. Slowly his eyes stopped their twirling. The tic in the
forehead ceased its revolting twitch. Slowly he advanced toward her.
52 “I love you!” she cried. “I love you, Charles! I love you!”

53 Then suddenly he was running, pelting, he was in her arms, he was shrieking with
sobs. “Meg! Meg! Meg!”
54 “I love you, Charles!” she cried again, her sobs almost as loud as his, her tears
mingling with his. “I love you! I love you! I love you!”

© 2014 College Board. All rights reserved.

55 A whirl of darkness. An icy cold blast. An angry, resentful howl that seemed to tear
through her. Darkness again. Through the darkness to save her came a sense of Mrs
Whatsit’s presence, so that she knew it could not be IT who now had her in its clutches.
56 And then the feel of earth beneath her, of something in her arms, and she was
rolling over on the sweet-smelling autumnal earth, and Charles Wallace was crying out,
“Meg! Oh, Meg!”
57 Now she was hugging him close to her, and his little arms were clasped tightly
about her neck. “Meg, you saved me! You saved me!” he said over and over.
58 “Meg!” came a call, and there were her father and Calvin hurrying through the
darkness toward them.
59 Still holding Charles she struggled to stand up and look around. “Father! Cal!
Where are we?”

46 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.9
continued

60 Charles Wallace, holding her hand tightly, was looking around, too, and suddenly
he laughed, his own, sweet, contagious laugh. “In the twins’ vegetable garden! And we My Notes
landed in the broccoli!”
61 Meg began to laugh, too, at the same time that she was trying to hug her father, to
hug Calvin, and not to let go of Charles Wallace for one second.
62 “Meg, you did it!” Calvin shouted. “You saved Charles!”

63 “I’m very proud of you, my daughter.” Mr. Murry kissed her gravely, then turned
toward the house. “Now I must go in to Mother.” Meg could tell that he was trying to
control his anxiety and eagerness.
64 “Look!” she pointed to the house, and there were the twins and Mrs. Murry
walking toward them through the long, wet grass.
65 “First thing tomorrow I must get some new glasses,” Mr. Murry said, squinting in
the moonlight, and then starting to run toward his wife.
66 Dennys’s voice came crossly over the lawn. “Hey, Meg, it’s bedtime.”

67 Sandy suddenly yelled, “Father!”

68 Mr. Murry was running across the lawn, Mrs. Murry running toward him, and
they were in each other’s arms, and then there was a tremendous happy jumble of
arms and legs and hugging, the older Murrys and Meg and Charles Wallace and the
twins, and Calvin grinning by them until Meg reached out and pulled him in and Mrs.
Murry gave him a special hug all of his own. They were talking and laughing all at once,
when they were startled by a crash, and Fortinbras, who could bear being left out of
the happiness not one second longer, catapulted his sleek black body right through the
screened door to the kitchen. He dashed across the lawn to join in the joy, and almost
knocked them all over with the exuberance of his greeting.
69 Meg knew all at once that Mrs Whatsit, Mrs Who, and Mrs Which must be near,
because all through her she felt a flooding of joy and of love that was even greater and
deeper than the joy and love which were already there.
70 She stopped laughing and listened, and Charles listened, too. “Hush.”
© 2014 College Board. All rights reserved.

71 Then there was a whirring, and Mrs Whatsit, Mrs Who, and Mrs Which were
standing in front of them, and the joy and love were so tangible that Meg felt that if she
only knew where to reach she could touch it with her bare hands.
72 Mrs Whatsit said breathlessly, “Oh, my darlings, I’m sorry we don’t have time to say
good-by to you properly. You see, we have to—”
73 But they never learned what it was that Mrs Whatsit, Mrs Who, and Mrs Which
had to do, for there was a gust of wind, and they were gone.

Unit 1 • The Challenge of Heroism 47

 ACTIVITY 1.9
The Return
continued

After Reading
My Notes 5. What steps in the Return stage are illustrated in this section of the novel
A Wrinkle in Time?

6. In what ways does this excerpt show a resolution to a conflict?

7. Quote examples of Meg’s dialogue and internal thoughts (reflections) that show
her anxiety and fear about the task she has to do.

8. What does Meg learn during her attempt to conquer the challenge?

© 2014 College Board. All rights reserved.

Narrative Writing Prompt: Revisit your hero narrative. What might your hero
learn by the end of the Return Stage in his or her journey? Draft an ending to your
narrative using your understanding of the Crossing/Return Threshold to guide
your development. Add at least two frames for visuals to support your narrative.
Be sure to:
• Use narrative techniques such as dialogue, pacing, and description to
communicate ideas.
• Use connotative diction and imagery for effect.
• Sequence the event logically and naturally (with the beginning and middle).
• Visualize the theme or major idea of your journey story. Use visual techniques
for effect. Challenge yourself to use two frames to communicate one theme.

Check Your Understanding

Revise your draft by adding transitions to strengthen organization and convey
sequence, signal shifts, and show the relationships among experiences and events.
How does the use of transitions strengthen your writing?

48 SpringBoard® English Language Arts Grade 8

 Responding
Writing a Hero’s
to Literature
Journey Narrative EMBEDDED
ASSESSMENT 1

Assignment
Think about all the heroes you have encountered in fiction and real life. What type My Notes
of hero appeals to you? Write and create an illustrated narrative about an original
hero. Use the Hero’s Journey archetype to develop and structure your ideas.

Planning and Prewriting: Take time to make a plan for your narrative.
• What characteristics will your hero possess and what setting will you choose?
• What are the essential elements of a narrative that you will need to include?
• What prewriting strategies will you use to plan the organization?

Drafting: Create a draft that includes the elements of an effective

narrative.
• How will you introduce characters, context, and setting and establish a point
of view?
• How will you use dialogue, details, and description to create an original,
believable hero?
• How will you sequence events logically and naturally using steps of the Hero’s
Journey archetype?
• How will you provide a conclusion or resolution that follows from and reflects on
the events of the narrative?
• How will you find or create illustrations to capture key imagery, emphasize
ideas, or add interest?

Evaluating and Revising: Create opportunities to review and revise

your work.
• When will you share your work with your writing group?
• What is your plan to incorporate suggestions and ideas for revisions into your
draft?
• How can you improve connotative diction and imagery to create tone and mood?
© 2014 College Board. All rights reserved.

• How can the Scoring Guide help you evaluate how well your draft meets the
requirements of the assignment?

Checking and Editing: Confirm that your final draft is ready for publication.
• How will you proofread and edit your draft to demonstrate command of the
conventions of standard English capitalization, punctuation, spelling, grammar,
and usage?
• How will you create a title and assemble your illustrations in an appealing
manner?
• How will you prepare a final draft for publication? Technology TIP:

Reflection Avoid using images in a way

After completing this Embedded Assessment, think about how you went about that would violate copyright
law. You may download or
accomplishing this task, and respond to the following:
copy an image for personal
• How did your understanding of the Hero’s Journey archetype help you create use and provide the source,
an original narrative? but you may not broadcast
the image without the owner’s
permission.

Unit 1 • The Challenge of Heroism 49

EMBEDDED Writing A Hero’s Journey Narrative
ASSESSMENT 1

SCORING GUIDE
Scoring
Exemplary Proficient Emerging Incomplete
Criteria

Ideas The narrative The narrative The narrative The narrative

• creates a complex, • creates a believable, • creates an unoriginal • lacks a protagonist
original protagonist original protagonist or undeveloped • does not establish
• establishes a clear • establishes point of protagonist point of view, setting,
point of view, setting, view, setting, and • establishes a weak or conflict
and conflict conflict point of view, setting, • uses minimal
• uses precise and • uses adequate or conflict narrative techniques
engaging details, details, dialogue, • uses inadequate • includes few or no
dialogue, imagery imagery, and narrative techniques visuals.
and description description • includes insufficient,
• includes a variety of • includes sufficient unrelated, or
enhancing visuals. visuals. inappropriate visuals.

Structure The narrative The narrative The narrative The narrative

• engages and orients • orients the reader • provides weak or • lacks exposition
the reader with with adequate vague exposition • has minimal plot
detailed exposition exposition • sequences events with no apparent
• sequences events in • sequences events unevenly, including connection to the
the plot effectively, in the plot logically, minimal or unclear Hero’s Journey
including a variety of including some steps steps of the Hero’s archetype
steps from the Hero’s of the Hero’s Journey Journey archetype • uses few or no
Journey archetype archetype • uses inconsistent, transitional
• uses a variety • uses transitional repetitive, or basic strategies
of transitional words, phrases, and transitional words, • lacks a resolution.
strategies effectively clauses to link events phrases, and clauses
and purposefully and signal shifts • provides a weak
• provides a thoughtful • provides a logical or disconnected

© 2014 College Board. All rights reserved.

resolution. resolution. resolution.

Use of The narrative The narrative The narrative The narrative

Language • uses connotative • uses adequate • uses weak or • uses limited or
diction, vivid verbs, connotative diction, unsophisticated inappropriate
figurative language, vivid verbs, figurative diction, verbs, language
and sensory language, and figurative language • lacks command of
language effectively sensory language and sensory the conventions of
• demonstrates • demonstrates language standard English
command of the adequate command • demonstrates partial capitalization,
conventions of of the conventions or inconsistent punctuation, spelling,
standard English of standard English command of the grammar, and usage;
capitalization, capitalization, conventions of frequent errors
punctuation, spelling, punctuation, spelling, standard English obscure meaning.
grammar, and grammar, and capitalization,
usage (including usage (including punctuation, spelling,
appropriate use of appropriate use of grammar, and usage.
a variety of moods). moods).

50 SpringBoard® English Language Arts Grade 8

 Previewing Embedded Assessment 2 ACTIVITY

and the Definition Essay 1.10

Learning Targets
• Reflect on previous learning and make connections to new learning. LEARNING STRATEGIES:
QHT, Close Reading,
• Identify and analyze the skills and knowledge necessary to be successful in Paraphrasing, Graphic
completing Embedded Assessment 2. Organizer

Making Connections
In the first part of this unit you learned about the archetype of the Hero’s Journey,
and you wrote your own illustrated narrative depicting a protagonist who makes a My Notes
heroic journey. In this half of the unit you will continue thinking about heroism and
what makes a hero; your work will culminate in an essay in which you give your
definition of a hero.

Essential Questions
Reflect on your understanding of Essential Question 1: How has your understanding
of the Hero’s Journey changed over the course of this unit? Then, respond to
Essential Question 2, which will be the focus of the rest of the unit: How does the
Hero’s Journey archetype appear in stories throughout time?

Developing Vocabulary
Re-sort the vocabulary from the first half of the unit, using the QHT strategy. ACADEMIC VOCABULARY
Compare the new sort with your original sort. How has your understanding It is important to be precise
changed? Select one word and write a concise statement about your learning. and concise in writing and
How has your understanding changed over the course of this unit? speaking. To be concise is
to be brief and to the point.
Unpacking Embedded Assessment 2 Conciseness is expressing
a great deal in just a few
Read the assignment for Embedded Assessment 2 closely to identify and analyze words.
the components of the assignment.
Think about people who deserve status as a hero from the past, from the present,
from life, and from literature. What defines a hero? Write a multi-paragraph essay
that develops your definition of heroism. Be sure to use strategies of definition
© 2014 College Board. All rights reserved.

(function, example, and negation) to guide your writing.

Using the assignment and the Scoring Guide, work with your class to paraphrase
the expectations and create a graphic organizer to use as a visual reminder of
the required concepts (what you need to know) and skills (what you need to do).
Copy the graphic organizer in your Reader/Writer Notebook.
After each activity, use this graphic to guide reflection about what you have
learned and what you still need to learn in order to be successful in the
Embedded Assessment.

Unit 1 • The Challenge of Heroism 51

ACTIVITY 1.10
Previewing Embedded Assessment 2
continued and the Definition Essay
Preparing for Expository Writing
My Notes 1. How are expository and narrative writing similar? How are they different?
List ideas below, and then create a graphic organizer on separate paper
to show your thinking.

Similarities Differences

© 2014 College Board. All rights reserved.

Preparing for Expository Writing
2. You are often asked to define vocabulary terms and to explain your
understanding of what something means. Abstract concepts, such as heroism,
can also be defined. Practice thinking about how to define an abstract concept
by working in a small group or with a partner to develop a list of words that
describe each of the concepts below.
• freedom
• responsibility
• sacrifice
• friendship

INDEPENDENT 3. Next, working with the same partner or group, choose one of the concepts
READING LINK above and write a short paragraph that defines and explains the concept.
Continue your exploration of
the heroes theme by choosing
a text about a historical
or modern hero for your
independent reading.

52 SpringBoard® English Language Arts Grade 8

 The Nuance of Tone ACTIVITY
1.11

Learning Target
• Explain how nuances in tone words arise from connotation. LEARNING STRATEGIES:
Note-taking, Graphic
Organizer, Discussion
Understanding Tone Groups
In literature, being able to recognize the tone of a story or poem or essay is an
important skill in understanding the author’s purpose. An author who is trying to
create a comedy skit needs to choose content and language that communicates
humor rather than sadness. Writers purposefully select diction to create an My Notes
appropriate tone.
1. What is the connection between tone and diction? Many words have a similar
denotation, but one must learn to distinguish among the connotations of these
words in order to accurately identify meaning and tone. Careful readers and
writers understand nuances (subtle differences) in word meanings. This means
that they recognize that words have varying levels of meaning.
Examples: house, home, abode, estate, shack, mansion, and hut all describe or
denotate a place to live, but each has a different connotation that determines
Literary Terms
meaning and tone.
Tone is a writer’s or
speaker’s attitude toward a
2. Create examples like the one above illustrating ranges of words that have subject.
the same denotation but different connotations. Independently, write your Diction is a writer’s or
examples below, and then pair with another student to share your words. speaker’s choice of words.
Denotation is the
direct meaning of a
word or expression,
as distinguished from
the ideas or meanings
3. Use one of the examples you just created to discuss how connotation connects associated with it or
to tone. suggested by it.
Connotation is the implied
associations, meanings or
emotions associated with
© 2014 College Board. All rights reserved.

a word.
Nuance refers to a subtle
Identifying Nuances in Diction difference or distinction in
4. On the following page are some common tone words and their synonyms. Use a meaning.
dictionary to determine or clarify each synonym’s precise meaning. After taking
notes on the denotation of each word, number the words to indicate the various
levels of meaning, from least intense to most intense (1 = least intense). If your
group feels that two words have the same connotation and level of meaning,
give them the same ranking.

ACADEMIC VOCABULARY
Synonyms are words with
similar meanings, such as
choose and select.
Antonyms are words with
opposite meanings, such as
dread and excitement.

Unit 1 • The Challenge of Heroism 53

ACTIVITY 1.11
The Nuance of Tone
continued

Angry: upset, enraged, irritated, sharp, vexed, livid, infuriated, incensed

My Notes Happy: mirthful, joyful, jovial, ecstatic, light-hearted, exultant, jubilant, giddy
Sad: poignant, despondent, sentimental, lugubrious, morose, woeful, mournful,
desolate
Honest: sincere, candid, outspoken, forthright, frank, unbiased, blunt
Calm: placid, still, bored, composed, peaceful, tranquil, serene, soothing
Nervous: anxious, apprehensive, hesitant, fretful, agitated, jittery, afraid
Smart: wise, perceptive, quick-witted, clever, sagacious, intellectual, brainy,
bright, sharp

5. Prepare to present your findings to the class. Use the outline below to prepare
for your presentation.

Our group studied words that have the same denotation as .

The most intense word is , which means .
One would feel if / when [specific situation].
The least intense word is , which means .
One would feel if / when [specific situation].
Our favorite word is , which means .
One would feel if / when [specific situation].

6. While other groups present, listen to comprehend, and take notes. You will be
responsible for applying this vocabulary in future activities.

Check Your Understanding

© 2014 College Board. All rights reserved.

Which words would you use to describe the protagonist of the story you wrote?
Which words would be appropriate to define a hero?

54 SpringBoard® English Language Arts Grade 8

 Physical and Emotional Challenges ACTIVITY
1.12

Learning Targets
• Analyze and compare a literary and an informational text on similar subjects. LEARNING STRATEGIES:
TP-CASTT, Diffusing,
• Make thematic connections relating to heroism in a written response. Rereading, Paraphrasing,
Summarizing, Close Reading,
Before Reading Marking the Text, Free Writing
1. The title of the poem that you will read next is “A Man.” Predict what the poem
may be about. Record your prediction in the graphic organizer on page 57.

My Notes
Introducing the Strategy: TP-CASTT
This reading strategy is used to analyze a poetic text by identifying and
discussing each topic in the acronym: Title, Paraphrase, Connotation,
Attitude, Shift, Theme, and Title again. The strategy is a guide designed to
lead you in an analysis of a literary text. It is most effective if you begin at the
top and work your way down the elements; however, you will find that as you
study one element, you will naturally begin to explore others. For example, a
study of connotation often leads to a discussion of tone and shifts. Revisiting
the title often leads to a discussion of the theme.

During Reading
2. You have considered and discussed the ideas of challenge and the Hero’s
Journey and their relation to heroism. As you read the next two texts, think
about how they relate to the ideas of challenge and heroism.

ABOUT THE AUTHOR

Nina Cassian was born in Romania in 1924 and now lives in New York City.
She has written more than 50 volumes of work, including poetry, fiction, and
books for children. Cassian is also a journalist, film critic, and composer of
classical music.
© 2014 College Board. All rights reserved.

Unit 1 • The Challenge of Heroism 55

 ACTIVITY 1.12
Physical and Emotional Challenges
continued

Poetry
My Notes

A Man
by Nina Cassian

While fighting for his country, he lost an arm

And was suddenly afraid:
“From now on, I shall only be able to do things by halves.
I shall reap half a harvest.
KEY IDEAS AND DETAILS 5 I shall be able to play either the tune
What does the dialogue reveal
about the man? or the accompaniment on the piano,
but never both parts together.
KEY IDEAS AND DETAILS
I shall be able to bang with only one fist
Is the idea in the last stanza
meant to be taken literally on doors, and worst of all
or figuratively? What is the 10 I shall only be able to half hold
connotation of “wing”?
my love close to me.
There will be things I cannot do at all,
applaud for example,
at shows where everyone applauds.”
15 From that moment on, he set himself to do
everything with twice as much enthusiasm.
And where the arm had been torn away
a wing grew.

© 2014 College Board. All rights reserved.

After Reading
3. Use the TP-CASTT strategy to analyze the poem. Record your responses in the
graphic organizer below and on the next page. Read the poem several times, each
time discussing aspects of the TP-CASTT strategy and recording your responses.

Strategy Response / Analysis

Title: Prediction:
Think about the title before reading the text to predict
what it will be about.

Paraphrase: Poem Summary:

After diffusing the text, translate the most challenging
lines of the poem into your own words (you may need to
reread the text several times); then briefly summarize
the poem.

56 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.12
continued

Strategy Response / Analysis

Connotation: Pattern: (+/–)
Mark the text by highlighting the diction (words and
phrases) used for positive effect (color 1) and/or negative
effect (color 2). Then, study the diction to determine a
pattern (e.g., mostly negative begins negatively but ends
positively) and record your analysis.

Attitude (Tone): Tone Summary:

Determine how the writer or speaker feels about the
subject of the poem (There might be more than one tone.)
Highlight words that convey tone. Be sure to use precise
tone words (e.g. mournful, not sad). Finally, summarize
the tone.

Shift: Shifts:
Identify shifts, such as in the speaker, setting, subject,
tone, or images. After marking the text with a star and
numbering each, study and explain the shifts.

Title: Deeper Meaning:

Examine the title to determine the deeper meaning.
Look beyond the literal, even if the title is simple (e.g.
© 2014 College Board. All rights reserved.

“Choices”). Record ideas.

Theme: Theme Statement(s):

Determine the message about life implied in the poem.
After you identify a subject (e.g. friendship), write a
statement about the subject that sounds like a piece
of advice (e.g. For a friendship to survive, one must be
selfless, not selfish.) Record your theme statement(s).

Unit 1 • The Challenge of Heroism 57

 ACTIVITY 1.12
Physical and Emotional Challenges
continued

4. After reading the poem several times, return to the TP-CASTT graphic organizer
My Notes and write a brief paragraph to summarize the poem and state its meaning.

During Reading
5. You will next read a newspaper article about another soldier. As you read the
article, think about its audience and purpose.

Article

Soldier home after losing

his leg in Afghanistan
by Gale Fiege

1 LAKE STEVENS – It started out as just another day in the Zabul Province of
southern Afghanistan.
2 On Sept. 18, 2010, Army Pfc. Tristan Eugene Segers, a 2002 graduate of Lake
KEY IDEAS AND DETAILS Stevens High School, was driving his armored patrol vehicle when a homemade bomb
What is the purpose of the first exploded in the road underneath Segers’ floorboard.
four paragraphs of this article?
3 One of the vehicle’s 800-pound tires was found a half-mile away.
KEY IDEAS AND DETAILS 4 Just below his knee, Segers’ right leg was gone. He had shrapnel sticking out of his
Choose a statement made eyeballs, face and arms.
by Segers that expresses the
central idea driving Segers’ 5 After nearly two years of surgeries and rehabilitation in Texas, Segers, a handsome
life now. What facts in the 28-year-old, moved back to Snohomish County last week in time to celebrate
story support this idea? Independence Day with his folks in the home where he grew up.

© 2014 College Board. All rights reserved.

58 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.12
continued

6 Segers is married now to his high school girlfriend, Lindsay Blanchard. They are
expecting a baby boy in October. He plans to return to culinary arts school this fall and My Notes
they are about to move into an apartment in the Bothell area.
7 Until his official Army retirement date on Aug. 21, he is Cpl. Segers, the owner of a
Purple Heart1.
8 Segers wears shorts in the warm summer weather, not even pretending to hide his
prosthetic leg. He has run a marathon. A specially designed gas pedal is on the left side
of his slate-gray Toyota Tacoma truck.
9 Nothing is stopping him.

10 “Everybody’s injury is different and everybody handles it in their own way. There is
no way to measure it, whether it’s physical or mental,” Segers said. “I just kept telling the
doctors that I didn’t want my life to be different than it was before. Of course, the loss of
a leg changed me. But it doesn’t define me or the rest of my life.”
11 Segers was enjoying a promising start to a career as a chef when the economic
recession forced him to consider joining the Army. He figured he would serve in the
family tradition set by his father and grandfather.
12 After grueling training in the hot Georgia sun, he landed a spot in the Army’s 101st KEY IDEAS AND DETAILS
Airborne Pathfinder Division, an elite infantry unit, and was sent to Afghanistan in Notice how the language
February 2010 to work on personnel recovery missions. changes as it describes
his Army assignment.
13 After the explosion, Segers was stabilized and flown to the Army hospital in What is an “elite” infantry
Landstuhl, Germany. unit? What are “personnel
recovery missions”?
14 “My eyes were completely bandaged and I was in a lot of pain. The stretchers were
on bunks in the airplane, so when I woke up it felt like I was in a coffin,” Segers said. “I
was so glad to hear the voice of my buddy, Andrew Leonard, a guy from Boston who
had been injured earlier.”
15 Tristan Segers can’t say enough good things about the surgeons, psychiatrists, GRAMMAR USAGE
physical therapists and other staff at the Army hospital, as well as the numerous Appositives
charitable organizations such as the Fisher House Foundation that help wounded An appositive is a noun
© 2014 College Board. All rights reserved.

veterans or noun phrase that gives

further detail or explanation
16 “I was truly cared for,” he said. “The rehabilitation was rigorous and I pushed it,
of the noun next to it. An
building back my muscles and learning to use the prosthetic leg. appositive is not necessary
17 “But they never told me I was doing a good job for fear that I might get to the meaning of the
complacent. There were many guys there who had given up on life.” sentence and is usually set
off by commas. For example,
18 “Most of the time when people see my leg, they think I’ve been in a car accident or the writer of this article uses
something. But sometimes an old veteran will stop me and thank me for my service,” an appositive in the second
Segers said. “I didn’t do anything special, but if the progress I have made motivates paragraph to describe
another wounded veteran to keep going, then that’s great.” Eugene Segers: “… Eugene
Segers, a 2002 graduate of
After Reading Lake Stevens High School,
was driving…”
6. Think about the audience and purpose of the poem “A Man” and the newspaper
article you just read. Compare the purpose and audience for the two texts. The appositive phrase “a
2002 graduate of Lake
Stevens High School” is
separated by commas from
the noun Segers, which it
modifies.
1 Purple Heart: a medal given to U.S. Army personnel who are injured in the line of duty.

Unit 1 • The Challenge of Heroism 59

ACTIVITY 1.12
Physical and Emotional Challenges
continued

7. In both texts, the subject faces physical and mental challenges. How are these
My Notes challenges similar and different?

8. An informational article and a poem would seem to have different purposes.

How does the language of the texts differ?

Check Your Understanding

Write a thematic statement about heroism that connects the texts.

Introducing the Strategy: Free Writing

The free writing strategy allows writers to write freely without pressure to
be correct or complete. A free write gives a writer the freedom to write in an
informal style and get ideas on paper in preparation for a more complete
and formal writing assignment. This strategy helps writers refine and clarify
thoughts, spark new ideas, and/or generate content during drafting or revision.

Writing Prompt: Free write about the topic of physical and mental challenges and
their connection to heroism. Be sure to:
• Capture as many ideas as you can.
• Explore your ideas about the ways people react to challenges, not only

© 2014 College Board. All rights reserved.

physically or mentally but also changes in what they do with their lives.

60 SpringBoard® English Language Arts Grade 8

 Definition Strategies ACTIVITY
1.13

Learning Targets
• Identify definition strategies of function, example and negation. LEARNING STRATEGIES:
Brainstorming, Manipulatives,
• Form an initial definition of heroism. Graphic Organizer, Prewriting

Writing to Define
For Embedded Assessment 2, you will be writing a definition essay to share your
personal understanding of the concept of heroism. To write this definition of GRAMMAR USAGE
heroism, you will need various strategies and knowledge to create an expanded
An adjective describes a
definition of the concept. First, you can expand your collection of words that
noun or pronoun, such as
describe heroes and heroism.
brave in brave hero.
1. Defining heroes: Generate a list of A noun names a person,
• Adjectives that could describe what a hero is: place, thing, idea, or state
A hero is (adj) brave, of being, as in hero and
• Nouns that could define what a hero shows: archetype.
A hero shows (noun) courage, A verb expresses action or a
state of being, as with spoke
• Verbs that could define what a hero does: in ‘the hero spoke.’
A hero (verb) fights,

2. After sharing and consulting additional resources such as a thesaurus,

group and then sort synonyms to represent the nuances of the words (subtle My Notes
differences in meanings). Record these terms in your Reader/Writer Notebook
for future reference.

Defining a Concept
Part of defining any concept is finding ways to describe the concept to make it
clear to others. Writers of a definition essay use strategies of definition to clarify,
develop, and organize ideas. The three definition strategies you will learn in this
unit are function, example, and negation.
Literary Terms
© 2014 College Board. All rights reserved.

• Definition by function: Paragraphs using the function strategy explain how the
A definition essay is a type
concept functions or operates in the real world.
of expository writing that
• Definition by example: Paragraphs using the example strategy use specific explains, or defines, what
examples of the concept from texts or life. a topic means.
• Definition by negation: Paragraphs using the negation strategy explain what
something is by showing what it is not. A non-example should be based on
what someone else would say is an example. If no one would disagree with the
negation, it is ineffective.

Unit 1 • The Challenge of Heroism 61

 ACTIVITY 1.13
Definition Strategies
continued

3. Read the following passages of definition and decide whether they contain
ACADEMIC VOCABULARY definition by function, example, and/or negation. Be able to explain why you
Describing the function of categorized ideas as you did. First, highlight the topic being defined. Then,
something is telling how decide the type of definition being used.
something is used. The verb
to function is to act as or to • “But just for the purposes of this discussion, let us say: one’s family are those
operate as. toward whom one feels loyalty and obligation, and/or from whom one derives
Just as a negative answer identity, and/or to whom one gives identity, and/or with whom one shares
would be a no, to negate is to habits, tastes, stories, customs, memories.” (Marilynn Robinson, “Family.”
deny or make ineffective. The The Death of Adam: Essays on Modern Thought. Houghton Mifflin, 1998)
noun negation is to show what
something is not in order to • “It’s always seemed odd to me that nonfiction is defined, not by what it is,
prove what it is. but by what it is not. It is not fiction. But then again, it is also not poetry, or
technical writing or libretto. It’s like defining classical music as nonjazz.”
(Philip Gerard, Creative Nonfiction. Story Press, 1996)

My Notes • “Love is patient and kind; love does not envy or boast; it is not arrogant or
rude. It does not insist on its own way; it is not irritable or resentful; it does
not rejoice at wrongdoing, but rejoices with the truth. Love bears all things,
believes all things, hopes all things, endures all things. Love never ends.”
(The Bible, I Corinthians 13:4–8a)
• “Let me not to the marriage of true minds
admit impediments. Love is not love
which alters when it alteration finds,
or bends with the remover to remove:
O no! It is an ever-fixed mark
that looks on tempests and is never shaken;
it is the star to every wandering bark,
whose worth’s unknown, although his height be taken.
Love’s not time’s fool, though rosy lips and cheeks
within his bending sickle’s compass come:
love alters not with his brief hours and weeks,

© 2014 College Board. All rights reserved.

but bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.”
(“Sonnet 116,” by William Shakespeare)

62 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.13
continued

• From To Kill a Mockingbird – Atticus speaks to Jem about Mrs. Dubose:

“You know, she was a great lady.” My Notes
“A lady?” Jem raised his head. His face was scarlet. “After all those things she
said about you, a lady?”
“She was. She had her own views about things, a lot different from mine,
maybe … son, I told you that if you hadn’t lost your head I’d have made you
go read to her. I wanted you to see something about her—I wanted you to
see what real courage is, instead of getting the idea that courage is a man
with a gun in his hand. It’s when you know you’re licked before you begin
but you begin anyway and you see it through no matter what. You rarely win,
but sometimes you do. Mrs. Dubose won, all ninety-eight pounds of her.
According to her views, she died beholden to nothing and nobody. She was
the bravest person I ever knew.”

During Reading
4. As you read the following essay, analyze and evaluate how the author uses
supporting detail and commentary to develop his definition of heroism.

ABOUT THE AUTHOR

Oliver Stone became a movie director after serving in the Vietnam War.
Stone’s films have explored historical subjects, such as the Vietnam War and
President Kennedy’s assassination. Three of Stone’s films—Midnight Express
(for which he wrote the screenplay), Platoon, and Born on the Fourth of July—
have earned Academy Awards.

Article

Where I
Heroes
© 2014 College Board. All rights reserved.

Find My
by Oliver Stone
from McCall’s Magazine, November 1992 KEY IDEAS AND DETAILS
Why might most history
be “oriented toward male
It’s not true that there are no heroes anymore—but it is true that my own concept heroes”?
of heroism has changed radically over time. When I was young and I read the Random
House biographies, my heroes were always people like George Washington and
General Custer and Abraham Lincoln and Teddy Roosevelt. Men, generally, and doers.
Women—with the exception of Clara Barton, Florence Nightingale, and Joan of Arc —
got short shrift. Most history was oriented toward male heroes.
But as I’ve gotten older, and since I’ve been to war, I’ve been forced to reexamine
the nature of life and of heroism. What is true? Where are the myths?

Unit 1 • The Challenge of Heroism 63

 ACTIVITY 1.13
Definition Strategies
continued

The simple acts of heroism are often overlooked—that’s very clear to me not only
My Notes in war but in peace. I’m not debunking all of history: Crossing the Delaware was a
magnificent action. But I am saying that I think the meaning of heroism has a lot
to do with evolving into a higher human being. I came into contact with it when
I worked with Ron Kovic, the paraplegic Vietnam vet, on Born on the Fourth of July.
I was impressed by his life change, from a patriotic and strong-willed athlete to someone
who had to deal with the total surrender of his body, who grew into a nonviolent and
peaceful advocate of change in the Martin Luther King, Jr., and Gandhi tradition. So
heroism is tied to an evolution of consciousness….
Since the war, I’ve had children, and I’m wrestling now with the everyday problems
of trying to share my knowledge with them without overwhelming them. It’s difficult to
be a father, to be a mother, and I think that to be a kind and loving parent is an act of
heroism. So there you go—heroes are everyday, common people. Most of what they do
goes unheralded, unappreciated. And that, ironically, is heroism: not to be recognized.
KEY IDEAS AND DETAILS
Stone compares himself as Who is heroic? Scientists who spend years of their lives trying to find cures
a hero to Ron Kovic. How for diseases. The teenager who says no to crack. The inner-city kid who works at
does he make the connection McDonald’s instead of selling drugs. The kid who stands alone instead of joining a gang,
between himself and Ron which would give him an instant identity. The celebrity who remains modest and treats
Kovic as heroes? others with respect, or who uses his position to help society. The student who defers the
immediate pleasure of making money and finishes college or high school. People who
take risks despite fears. People in wheelchairs who don’t give up….
KEY IDEAS AND DETAILS
What is the connection among We have a lot of corruption in our society. But we mustn’t assume that everything is
all the examples of heroes always basely motivated. We should allow for the heroic impulse—which is to be greater
that Stone lists near the end? than oneself, to try to find another version of oneself, to grow. That’s where virtue
comes from. And we must allow our young generation to strive for virtue, instead of
ridiculing it.

After Reading
5. How is Stone’s definition of a hero different from the traditional idea of a hero
as represented by the examples in paragraph 1?

© 2014 College Board. All rights reserved.

6. State Stone’s definition of heroism in one concise statement.

64 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.13
continued

7. How does Stone use the example strategy to support his definition? Cite textual
evidence to support your analysis. My Notes

8. How do the final sentences provide a call to action and a final clarification
of heroism?

9. The heroes mentioned by Oliver Stone are listed below. Choose one or think of
one of your own. Do a quick search to determine what made the person a hero.
• George Washington • Clara Barton
• General Custer • Florence Nightingale
• Abraham Lincoln • Joan of Arc
• Teddy Roosevelt • Ron Kovic
• Martin Luther King, Jr. • Mohandas Gandhi

Beginning a Definition of Hero

10. After reading and thinking about definition strategies and heroes, use the
graphic organizer that follows to begin organizing your definition of a hero
according to the three different strategies for definition: function, example,
and negation.
© 2014 College Board. All rights reserved.

Unit 1 • The Challenge of Heroism 65

ACTIVITY 1.13
Definition Strategies
continued

How does it function? What are some examples?

My Notes

Heroism

What is it not?

Check Your Understanding

Expository Writing Prompt: Think about another concept such as family,
politeness, determination, or love, and draft a paragraph of definition that
establishes the function of the concept you have chosen. Remember that the
function strategy explains how an idea or concept operates in the world. Be sure to:
• Begin with a topic sentence that states how the idea you have chosen functions
in the world.
• Provide supporting detail (paraphrased and directly quoted) and commentary to
develop ideas.

© 2014 College Board. All rights reserved.

• Use transitions to create coherence.

Revise the language in your draft by substituting a literal idea for a figurative
idea (metaphor).

66 SpringBoard® English Language Arts Grade 8

 Historical Heroes: Examples ACTIVITY
1.14

Learning Targets
• Analyze two sets of texts about two historical heroes. LEARNING STRATEGIES:
TP-CASTT, Diffusing, Close
• Compare a poem of tribute to an autobiographical excerpt. Reading, Marking the Text,
• Draft a written response using the example definition strategy. Paraphrasing, Summarizing,
Rereading
Before Reading
1. You will next read two sets of texts on historical heroes. Before you do, take a
moment to write down a sentence or two that tells what you know about the
historical figures and events listed below: My Notes
Civil War:

Abraham Lincoln:

Emancipation Proclamation:

Frederick Douglass:

During Reading
2. The two texts that follow were both written to remember and praise Abraham
Lincoln after his assassination. As you read, think about how these authors see
Lincoln as a heroic figure.
© 2014 College Board. All rights reserved.

3. Use the Key Ideas and Details prompts to make meaning of each text, and use
the TP-CASTT strategy to aid analysis of the poems.
4. As you read, think about how you could use information from these texts in
your heroism definition essay.

ABOUT THE AUTHOR

Dr. Phineas D. Gurley (1816–1868) was the pastor of the New York Avenue
Presbyterian Church (in Washington, DC), which Abraham Lincoln attended
during his presidency. Gurley was also Chaplain of the United States Senate.
After Lincoln’s assassination, Gurley preached this funeral sermon in the
White House East Room on April 19, 1865.

Unit 1 • The Challenge of Heroism 67

 ACTIVITY 1.14
Historical Heroes: Examples
continued

Article
My Notes

White House Funeral

Sermon for Abraham Lincoln

by Dr. Phineas D. Gurley

He is dead; but the God in whom he trusted lives, and He can guide and strengthen
KEY IDEAS AND DETAILS his successor, as He guided and strengthened him. He is dead; but the memory of his
Notice how Dr. Gurley virtues, of his wise and patriotic counsels and labors, of his calm and steady faith in
connects Lincoln the man God lives, is precious, and will be a power for good in the country quite down to the
with the causes he fought for. end of time. He is dead; but the cause he so ardently loved, so ably, patiently, faithfully
What are those causes? represented and defended—not for himself only, not for us only, but for all people in all
their coming generations, till time shall be no more—that cause survives his fall, and
KEY IDEAS AND DETAILS will survive it. The light of its brightening prospects flashes cheeringly to-day athwart1
How does Lincoln’s connection the gloom occasioned by his death, and the language of God’s united providences is
to Liberty make him heroic? telling us that, though the friends of Liberty die, Liberty itself is immortal. There is no
assassin strong enough and no weapon deadly enough to quench its inextinguishable
life, or arrest its onward march to the conquest and empire of the world. This is our
confidence, and this is our consolation, as we weep and mourn to-day. Though our
beloved President is slain, our beloved country is saved. And so we sing of mercy as well
as of judgment. Tears of gratitude mingle with those of sorrow. While there is darkness,
there is also the dawning of a brighter, happier day upon our stricken and weary land.
God be praised that our fallen Chief lived long enough to see the day dawn and the
daystar of joy and peace arise upon the nation. He saw it, and he was glad. Alas! alas!
He only saw the dawn. When the sun has risen, full-orbed and glorious, and a happy

© 2014 College Board. All rights reserved.

reunited people are rejoicing in its light–alas! alas! it will shine upon his grave. But that
grave will be a precious and a consecrated spot. The friends of Liberty and of the Union
will repair to it in years and ages to come, to pronounce the memory of its occupant
blessed, and, gathering from his very ashes, and from the rehearsal of his deeds and
virtues, fresh incentives to patriotism, they will there renew their vows of fidelity2 to
their country and their God.

ABOUT THE AUTHOR

Walt Whitman (1819–1892) is now considered one of America’s greatest
poets, but his untraditional poetry was not well received during his lifetime.
As a young man, he worked as a printer and a journalist while writing
free-verse poetry. His collection of poems, Leaves of Grass, first came out
in 1855, and he revised and added to it several times over the years. During
the Civil War, he worked in Washington, first caring for injured soldiers in
hospitals and later as a government clerk.

1 athwart: across or against

2 fidelity: loyalty, faithfulness to a person, cause, or belief

68 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.14
continued

Poetry
My Notes

O Captain!
by Walt Whitman
My Captain!
O Captain! my Captain! our fearful trip is done;
The ship has weather’d every rack, the prize we sought is won; Literary Terms
The port is near, the bells I hear, the people all exulting, An allegory is a literary
While follow eyes the steady keel, the vessel grim and daring: technique of extending
a metaphor through an
5 But O heart! heart! heart!
entire poem or story so
O the bleeding drops of red, that objects, persons,
Where on the deck my Captain lies, and actions in the text are
equated with meanings
Fallen cold and dead. that lie outside the text.
O Captain! my Captain! rise up and hear the bells;
10 Rise up—for you the flag is flung—for you the bugle trills;
For you bouquets and ribbon’d wreaths—for you the shores
a-crowding,
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head;
KEY IDEAS AND DETAILS
15 It is some dream that on the deck, As an allegory representing
You’ve fallen cold and dead. the death of Abraham
Lincoln, who does the
My Captain does not answer, his lips are pale and still; Captain represent?
My father does not feel my arm, he has no pulse nor will; What does the ship
© 2014 College Board. All rights reserved.

represent?
The ship is anchored safe and sound, its voyage closed and done;
What does the trip or
20 From fearful trip the victor ship comes in with object won: voyage represent?
Exult O shores, and ring O bells!
But I with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.

Unit 1 • The Challenge of Heroism 69

 ACTIVITY 1.14
Historical Heroes: Examples
continued

My Notes ABOUT THE AUTHOR

Robert Hayden (1913–1980) was born in Detroit, Michigan. He had a life-long
love of literature and became a teacher and writer. Through his work for the
Federal Writers’ Project in the 1930s, he studied African-American history and
folk life, both of which became inspirations for his works of poetry. Slavery and
emancipation were recurring themes in his work.

Poetry

KEY IDEAS AND DETAILS

Frederick Douglass
In the first six lines circle all by Robert Hayden
the uses of the word “it” and
“thing.” What is “it”? And how When it is finally ours, this freedom, this liberty, this beautiful
is it described? and terrible thing, needful to man as air,
usable as earth; when it belongs at last to all,
KEY IDEAS AND DETAILS
How is the cause of both when it is truly instinct, brain matter, diastole, systole,
Lincoln and Douglass the 5 reflex action; when it is finally won; when it is more
same according to these
tributes to these men’s lives? than the gaudy mumbo jumbo of politicians:
this man, this Douglass, this former slave, this Negro
beaten to his knees, exiled, visioning a world
where none is lonely, none hunted, alien,
10 this man, superb in love and logic, this man
shall be remembered. Oh, not with statues’ rhetoric,
not with legends and poems and wreaths of bronze alone,

© 2014 College Board. All rights reserved.

but with the lives grown out of his life, the lives
fleshing his dream of the beautiful, needful thing.

After Reading
5. According to this poet, who is Frederick Douglass? Why is he heroic?

70 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.14
continued

Before Reading
6. As you read this excerpt from Frederick Douglass’s autobiography, in which he My Notes
narrates his escape from slavery to freedom, think about how Douglass’s story
gives detail to Hayden’s appreciation of Douglass.

Autobiography
from The Narrative of the Life of
Frederick Douglass,
an American Slave
by Frederick Douglass

1 I felt assured that if I failed in this attempt, my case would be a hopeless one—it
would seal my fate as a slave forever. I could not hope to get off with anything less than
the severest punishment and being placed beyond the means of escape. It required no
very vivid imagination to depict the most frightful scenes through which I should have
to pass in case I failed. The wretchedness of slavery, and the blessedness of freedom,
were perpetually before me. It was life and death with me. But I remained firm, and,
according to my resolution, on the third day of September, 1838, I left my chains, and
succeeded in reaching New York without the slightest interruption of any kind. How
I did so—what means I adopted—what direction I travelled, and by what mode of
conveyance—I must leave unexplained, for the reasons before mentioned.
2 I have been frequently asked how I felt when I found myself in a free State. I have KEY IDEAS AND DETAILS
never been able to answer the question with any satisfaction to myself. It was a moment What images does
of the highest excitement I ever experienced. I suppose I felt as one may imagine the Douglass use to describe
unarmed mariner to feel when his is rescued by a friendly man-of-war from the pursuit his first feelings of freedom
of a pirate. In writing to a dear friend, immediately after my arrival at New York, I said and his fear of capture?
I felt like one who had escaped a den of hungry lions. This state of mind, however very
© 2014 College Board. All rights reserved.

soon subsided; and I was again seized with a feeling of great insecurity and loneliness.
I was yet liable to be taken and subjected to all the tortures of slavery. This in itself was
enough to damp the ardor of my enthusiasm. But the loneliness overcame me. There I
was in the midst of thousands, and yet a perfect stranger; without home and without
friends, in the midst of thousands of my own brethren—children of a common Father,
and yet I dared not to unfold to any one of them my sad condition. I was afraid to speak
to any one for fear of speaking to the wrong one, and thereby falling into the hands of
money-loving kidnappers, whose business it was to lie in wait for the panting fugitive,
as the ferocious beasts of the forest lie in wait for their prey. [I]n the midst of plenty, yet
suffering the terrible gnawing of hunger—in the midst of houses, yet having no home—
among fellow–men, yet feeling as if in the midst of wild beasts, whose greediness to
swallow up the trembling and half-famished fugitive is only equalled by that with which
the monsters of the deep swallow up the trembling and half-famished fish upon which
they subsist—I say let him be placed in this most trying situation—the situation in
which I was placed—then, and not till then, will he fully appreciate the hardships of,
and know how to sympathize with, the toil-worn and whip-scarred fugitive slave.

Unit 1 • The Challenge of Heroism 71

ACTIVITY 1.14
Historical Heroes: Examples
continued

...
My Notes 3 In about four months after I went to New Bedford, there came a young man to
me, and inquired if I did not wish to take the “Liberator.” I told him I did; but just
having made my escape from slavery, I remarked that I was unable to pay for it then.
I, however, finally became a subscriber to it. The paper came, and I read it from week
to week with such feelings as it would be quite idle for me to attempt to describe. The
paper became my meat and my drink. My soul was set all on fire. Its sympathy for my
brethren in bonds—its scathing denunciations of slaveholders—its faithful exposures of
slavery—and its powerful attacks upon the upholders of the institution—sent a thrill of
joy through my soul, such as I had never felt before!
4 I had not long been a reader of the “Liberator,” before I got a pretty correct idea of
the principles, measures and spirit of the anti-slavery reform. I did with a joyful heart,
and never felt happier than when in an anti-slavery meeting. I seldom had much to
KEY IDEAS AND DETAILS say at the meetings, because what I wanted to say was said so much better by others.
How did Douglass live his life But, while attending an anti-slavery convention at Nantucket, on the 11th of August,
as a heroic example to others? 1841, I felt strongly moved to speak, and was at the same time much urged to do so by
Mr. William C. Collin, a gentleman who had heard me speak in the colored people’s
KEY IDEAS AND DETAILS meeting at New Bedford. It was a severe cross, and I took it up reluctantly. The truth
What kind of mental, was, I felt myself a slave, and the idea of speaking to white people weighed me down. I
emotional, and physical spoke but a few moments, when I felt a degree of freedom, and said what I desired with
courage did Frederick Douglass considerable ease. From that time until now, I have been engaged in pleading the cause
convey in this excerpt from his of my brethren—with what success, and with what devotion, I leave those acquainted
autobiography? with my labors to decide.

After Reading
7. Compare Hayden’s poem to Douglass’s autobiographic narrative. What topic
of the autobiographic narrative do you see reflected in Robert Hayden’s tribute
to Douglass?

© 2014 College Board. All rights reserved.

8. Why does Hayden think that Douglass is worthy of his tribute?

72 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.14
continued

9. Review the elements of a well-developed expository body paragraph before

responding to the Writing Prompt. My Notes
• Topic Sentence: Paragraphs begin with a sentence that includes a subject
and an interpretation. The two main functions of a topic sentence are to make
a point that supports the thesis of the essay and to indicate the main idea
of a paragraph.
• Supporting Detail: Specific and relevant facts, details, examples, and
quotations are used to support the topic sentence and thesis and to develop
ideas.
• Commentary: Commentary explains the significance of the supporting detail
in relation to the thesis, which further develops ideas. It also brings a sense
of closure to the paragraph.

Check Your Understanding

Expository Writing Prompt: Walt Whitman and Dr. Phineas Gurley treat the
death of Lincoln as the death of a heroic figure. Robert Hayden also presents
Frederick Douglass as a heroic figure. How does Douglass’ autobiographical
Literary Terms
writing give detail to an understanding of Douglass as a heroic person? Most school or academic
writing must be in a formal
Think about the texts you just read. How are Abraham Lincoln and Frederick Douglass style that shows care and
heroic? Draft a definition paragraph using the example strategy. Be sure to: appropriate language,
• Begin with a topic sentence that answers the prompt. whereas a more informal
style can be used in texting
• Provide supporting detail and commentary to develop ideas.
or conversation.
• Use formal style and appropriate diction for the purpose and audience.

Reflect on your writing: How does use of the example strategy strengthen
a definition?
© 2014 College Board. All rights reserved.

Unit 1 • The Challenge of Heroism 73

ACTIVITY Language and Writer’s Craft: Transitions
1.15 and Quotations
Learning Target
LEARNING STRATEGIES: • Examine and appropriately apply transitions and embedded quotations
Marking the Draft, Adding,
in writing.
Substituting

Reviewing and Extending Transitions

You have learned that transitions connect ideas. Writers use transitional words and
phrases to create coherence and to help readers move smoothly through the essay.
Literary Terms
In formal writing, transitions establish relationships between one thought and the
Coherence is the clear and next, both within body paragraphs and between body paragraphs.
orderly presentation of ideas
in a paragraph or essay.
Transitions are used for different purposes:

To offer evidence: To introduce an interpretation: To compare and contrast:

Most important, Therefore, Although __________,
For example, For these reasons, Even though _______,
For instance, Consequently, Instead,
According to _____________, Furthermore, On the other hand,
To illustrate, In addition, On the contrary,
In this case, Moreover, Rather,
Thus, Yet, / But, / However,
Still,
Nevertheless,
In contrast,
Similarly,
Likewise,
In the same way,

To add information: To clarify: To conclude:

© 2014 College Board. All rights reserved.

Additionally, In other words, As a result,
In addition, For instance, Therefore,
For example, That is, Thus,
For instance, Put another way, Finally,
Likewise,
Finally,
Equally important,
Again,

74 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.15
continued

1. The following sample paragraph is based on the film Mulan, a folklore story
from China about a girl, Mulan, who chooses to go to war in place of her ill WORD
father. Mark the draft to indicate where transitions could be added. CONNECTIONS
Roots and Affixes
Using the chart above, determine what kinds of transitions are appropriate to
Coherence contains the Latin
this expository paragraph. Then, revise the writer’s organization by adding or
root -her-, meaning “to stick”
substituting transitional words and phrases to create coherence.
and the prefix co- meaning
“together.” The root also
Mulan is courageous because she has the ability to disregard fear for a greater good. appears in cohere, coherent,
Mulan takes her father’s place in the Chinese army because she knows that he is hurt. adhere, and inherent.
It is a crime punishable by death to impersonate a man and a soldier, Mulan has the
strength and the nerve to stand up for her father and protect him. She gathers all of
her courage and leaves before anyone can stop her, which is what courage is all about.
Her pluck allows her to face the impossible and not think about the outcome, the fear
My Notes
or the danger, until she is far enough to be ready for it. The heroes that we look up to
are everyday heroes, ordinary, average people who have conquered huge challenges
by finding the strength and the courage within themselves to continue on. “A hero
is an ordinary individual who finds the strength to persevere and endure in spite of
overwhelming obstacles” (Christopher Reeve). Mulan is an ordinary girl who finds
courage and strength to continue training and fighting in battles, even though she may
be frightened. It is impossible to endure and overcome fearful obstacles when you have
fear of them. Courage is what gives heroes the drive to move forward. The heroes that
have the courage and the will to move on are the heroes that we all know and admire,
the ones that we strive to be like.
© 2014 College Board. All rights reserved.

Unit 1 • The Challenge of Heroism 75

ACTIVITY 1.15
Language and Writer’s Craft: Transitions
continued and Quotations
Providing Support for a Claim
My Notes Supporting detail can be paraphrased or directly quoted, depending on the writer’s
purpose and intended effect. Examine the difference between a paraphrase and an
embedded quotation.
Paraphrase: Early in the story, Mulan reveals that she knows she will hurt her
family if she is true to herself (Mulan).
Embedded Quotation: Early in the story, Mulan reveals her fears when she sings, “Now
I see, that if I were truly to be myself, I would break my family’s heart” (Mulan 5).
Note that an embedded quotation shows a more detailed and precise knowledge of
the text.

A direct quotation should not: A direct quotation should:

contain a simple idea that a writer contain a complex idea that is thought-
could easily paraphrase provoking

repeat an idea that has already been add another layer of depth to
said the writing

stand alone be smoothly embedded into the writing

begin with a transition and lead-in

be lengthy be no more than three lines

Use the acronym TLQC to help you remember how to embed a quotation smoothly.
The letters stand for Transition, Lead-in, Quote, Citation.

Element Definition / Purpose Example

© 2014 College Board. All rights reserved.

Transition Use as a bridge to link ideas and strengthen Early in the story, Mulan reveals her fears when
cohesion and fluency. she sings, “Now I see, that if I were truly to be
myself, I would break my family’s heart.”

Lead-in Use to set the context for the information in the Early in the story, Mulan reveals her fears when
quote (complex sentences work well). she sings: “Now I see, that if I were truly to be
myself, I would break my family’s heart.”

Quote Use ideas from a credible source to strengthen Early in the story, Mulan reveals her fears when
your ideas, illustrate a point, and/or support she sings, “Now I see, that if I were truly to be
your controlling idea. myself, I would break my family’s heart.”

Citation Include author’s last name and page number Early in the story, Mulan reveals her fears
to give credit to the author and to make your when she sings, “Now I see, that if I were truly
writing credible to the reader. to be myself, I would break my family’s heart”
(Mulan 5).

76 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.15
continued

Note: If you are citing a different type of source, such as a website, provide the first
piece of information listed in a source citation. My Notes

2. Return to the sample paragraph and revise the writer’s ideas about Mulan
by smoothly embedding Christopher Reeve’s quote (already there, but not
carefully embedded) and by adding the following quotation from the film:
Mulan: “It’s going to take a miracle to get me into the army.”

Check Your Understanding

Return to the paragraph you wrote about Lincoln and Douglass as historical
heroes. Mark your draft to indicate missing or ineffective transitions. Then, revise
the organization by adding or substituting transitional words and phrases to
create coherence. Next, find a significant quote in two of the texts you have read
and add those ideas into your paragraph by smoothly embedding the quotes as
you have learned.

Reflection: What types of transitions did you add during your revision? Why?
© 2014 College Board. All rights reserved.

How do the direct quotations strengthen your Ideas?

Unit 1 • The Challenge of Heroism 77

ACTIVITY Negation Strategy of Definition
1.16

Learning Targets
LEARNING STRATEGIES: • Examine and analyze examples of the negation strategy of definition.
Quickwrite, Marking the Text,
Drafting, Substituting • Apply the negation strategy to a new topic.

Before Reading
1. Review the negation definition strategy:
My Notes
Paragraphs using the negation strategy explain what something is by showing
what it is not. Pointing out what the subject is not can make what it is clearer
to the reader. For example, here is an excerpt from a definition of a horse that
uses the negation strategy:
A horse, a zebra and a mule, though alike in many ways, have significant
differences. A horse, unlike a zebra, can be tamed and trained. And unlike a
mule, which is a sterile beast of burden, a horse is a valued breeder of future
generations of racing champions and hard-working ranch animals.

2. Practice definition by negation. List some actions or accomplishments that do

not fit your definition of a hero—though they may seem to at first glance.

During Reading
3. Read John Henry Newman’s definition of a gentleman and highlight all the
examples of negation. Watch for the words “never” as a cue to the examples of
what a gentleman is not.

© 2014 College Board. All rights reserved.

Essay

“A Definition of a
Gentleman”
by John Henry Newman

(1) The true gentleman in like manner carefully avoids whatever may cause a jar or a
jolt in the minds of those with whom he is cast;—all clashing of opinion, or collision of
feeling, all restraint, or suspicion, or gloom, or resentment; his great concern being to
make everyone at their ease and at home. (2) He has his eyes on all his company; he is
tender towards the bashful, gentle towards the distant, and merciful towards the absurd;
he can recollect to whom he is speaking; he guards against unseasonable allusions,
or topics which may irritate; he is seldom prominent in conversation, and never
wearisome. (3) He makes light of favours while he does them, and seems to be

78 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.16
continued

receiving when he is conferring. (4) He never speaks of

himself except when compelled, never defends himself My Notes
by a mere retort, he has no ears for slander or gossip, is
scrupulous in imputing motives to those who interfere
with him, and interprets everything for the best. (5) He
is never mean or little in his disputes, never takes unfair
advantage, never mistakes personalities or sharp sayings
for arguments, or insinuates evil which he dare not say
out. (6) From a long-sighted prudence, he observes the
maxim of the ancient sage, that we should ever conduct
ourselves towards our enemy as if he were one day to be
our friend.

From The Idea of a University, by John Henry Newman,

originally delivered as a series of lectures in 1852.

KEY IDEAS AND DETAILS

After Reading Sentences 2, 4, and 5
4. How does negation make this portrait of a contain statements as to
gentleman clearer and more extensive? what a gentleman is not.
Quote them.

Check Your Understanding

Expository Writing Prompt: Write about what heroism is not. Use the negation
strategy to distinguish what heroism is from what it is not. Be sure to:
• Begin with a topic sentence that answers the prompt.
• Provide supporting detail and commentary to develop ideas.
• Use transitions to create coherence.
© 2014 College Board. All rights reserved.

Unit 1 • The Challenge of Heroism 79

ACTIVITY Expository Writing Focus: Organization
1.17

Learning Targets
LEARNING STRATEGIES: • Identify and evaluate the effectiveness of the structural elements of a
Close Reading, Marking the
definition essay.
Text, Note-taking, Collaborative
Discussion • Draft a thesis and outline ideas for a definition essay.

Planning a Definition Essay

1. Review the Scoring Criteria for Embedded Assessment 2. What defines a
My Notes proficient definition essay? List required skills and concepts for each category.

Ideas

Organization

Language and
Conventions

Introduction

© 2014 College Board. All rights reserved.

The introduction to an essay has three main parts (listed in the order in which they
should appear):
I. The Hook: If the opening lines are dull or confusing, the reader loses interest
right away. Therefore, you must write an opening that grabs the reader’s
attention. Lure your readers into the piece with a hook—an anecdote,
compelling question, a quote, or an intriguing statement (AQQS)—to grab them
so firmly that they will want to read on.
• Anecdote: Begin with a brief anecdote (a story from real life) that relates to
WORD the point of your essay.
CONNECTIONS
• Question: Ask a thought-provoking universal question relating to the concept
Roots and Affixes of your thesis, which you will answer in your essay. Don’t ask simplistic
The Latin root -voc- in questions such as “How would you feel if . . .?” or “What would you do if . . .?”
provocative comes from a Latin
word meaning “to call.” This
root appears in words related
to a calling, such as vocation
and advocate. The Latin prefix
pro- means “forth,” “before,”
or “forward.”

80 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.17
continued

• Quote: Find a quote to state an ordinary idea in an extraordinary or

provocative way, or state a provocative idea in an ordinary way. Either will My Notes
grab the reader’s interest. This quote can come from any source: someone
you know, someone famous, or a song.
• Intriguing statement: Knock down a commonly held assumption or define a
word in a new and startling way.

II. The Bridge: This writing represents the content between the hook and the
thesis (the controlling idea of the essay). The purpose of the bridge is to make
a clear and concise connection between these two parts. The bridge is also the
place where a writer provides necessary background information to set the
context for the ideas in the essay.
III. The Thesis: Your thesis is your response to the writing prompt, and it includes
information about both the topic and your interpretation of it. The thesis is the
single most important part of the essay in establishing focus and coherence;
all parts of the essay should work to support this idea. Your thesis should be a
clear and precise assertion. It should not be an announcement of your intent, Literary Terms
nor should it include the first person (I / my).
A thesis is often the last
A thesis should show a level of sophistication and complexity of thought. You sentence of the introduction
may want to try to create a complex sentence as your thesis statement. Complex to an essay. It states the
sentences contain a dependent clause that begins with a dependent marker, such writer’s position on the
as because, before, since, while, although, if, until, when, after, as, as if. topic of the essay. It is the
controlling idea of the essay
and helps create coherence.
Evaluating and Revising Introductions
2. Read the following introductions. For each one, identify, label, and evaluate the
three parts of the introduction: hook, bridge, and thesis.

Sample 1
Aristotle said “The beauty of the soul shines out when a man bears with
composure one heavy mischance after another, not because he does not feel them,
but because he is a man of high and heroic temper.” When someone goes though
© 2014 College Board. All rights reserved.

calamity with poise, it is not because they don’t feel anything; it is because they
are of a heroic nature. Heroism is being brave and helping other people before
yourself, but it does not always have a happy ending.

Sample 2
“A hero is no braver than an ordinary man, but he is braver five minutes longer.”
When heroes keep on going and keep battling a challenge or problem, it makes
them that much more heroic. Anyone could just give up, but heroes keep going.
Instead of stressing over satisfying everyone, heroes know that their best is good
enough, and focus on doing the right thing. Heroism is putting others before
yourself and directly facing challenges, but not always saving or satisfying everyone.

Unit 1 • The Challenge of Heroism 81

ACTIVITY 1.17
Expository Writing Focus: Organization
continued

3. Now reread each introductory paragraph, evaluate its effectiveness, and mark it
My Notes for revision. Use these questions to aid your evaluation:
• Is the hook engaging?
• If the hook is a quote, is it integrated smoothly?
• Is there a bridge that effectively links the hook to the thesis?
• Is the thesis a clear and precise interpretation of the topic?
• Is the use of language formal or informal?
• Is the language effective? Where can it be made clearer, or where can ideas
be stated more smoothly?

Check Your Understanding

Revise one of the two paragraphs above based on your evaluation and discussion
of how it could benefit by additional content, reworking sentences, and using more
precise or formal diction.

Revising Thesis Statements

Examine the model thesis statement below and then see how the statement has
been revised to have a complex sentence structure with a beginning dependent
clause.
• Model thesis statement: Heroism involves selflessness and dedication to a
challenge. It means helping others without desire for recognition or stardom.
• Revised model: Because heroism involves selflessness, it requires dedication to
a challenge and helping others without desire for recognition or stardom.

4. What is the value of combining the two sentences in this way? How does it
improve the communication of ideas in the thesis statement?

© 2014 College Board. All rights reserved.

5. Now follow the model to revise the remaining thesis statements on the next
page. Create a complex sentence structure by using a dependent marker to
create a dependent clause at the beginning of the sentence. Revise other
elements as needed for smooth expression while still keeping the same ideas.

82 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.17
continued

• Thesis statement: Heroism means taking action when you are needed, showing
dedication to your quest, and not giving up even when the odds are against you. My Notes

Revised thesis statement:

• Thesis statement: Heroism means putting others before oneself and directly
facing challenges, but not always saving or satisfying everyone.

Revised thesis statement:

• Thesis statement: Heroism is being brave and helping other people before
yourself, but it does not always guarantee a happy ending.

Revised thesis statement:

Writing a Concluding Paragraph WORD

The concluding paragraph in an essay is the last thing your reader takes from CONNECTIONS
your essay. Try to make the reader think in a new way, feel emotional, or feel
Foreign Words
enlightened. Choose the ending carefully. Avoid clichés or something stale, such
as “The end,” “That is all I have to say,” or “That’s my definition of heroism.” Make The word cliché is from the
your readers feel that they have arrived somewhere by sharing with them what you French and means something
have learned, discovered, or realized. that is overused.

Following are some possible ways to conclude your essay.

© 2014 College Board. All rights reserved.

• Be genuine. Explain why this topic is important to you and/or important in life.
• If you used a quote as your hook, refer back to it. If you didn’t use a quote, use
one to guide your conclusion.
• You may finish by reviewing the paper’s main point, but with new insight.
• Direct the readers into the future. How does an understanding of this topic
relate to future thought or action? What will or should happen in the months or
years ahead?

Unit 1 • The Challenge of Heroism 83

ACTIVITY 1.17
Expository Writing Focus: Organization
continued

Evaluating and Revising Conclusions

My Notes 6. As you read examples of a conclusion, identify which technique the writer used
and how effective the conclusion is.

Sample 1
The best heroes out there are those that put others before themselves. How
do we know when someone is a hero? When they face challenges with pure
determination, but don’t save or satisfy everyone in the end. It blows us away
every time a hero can fix sticky situations, but it is more important to know that
a hero is doing what they’re doing for the protection of everyone else. Making
mistakes is what makes everything else that they do even more spectacular.

Sample 2
Heroes often look like the normal people we see walking down the street
and they might be the plainest form of normal there is. Behind that normal
appearance there has been struggle and challenge that has turned into wisdom.
Heroes have to not only overcome challenges, but have done it with dignity.
Heroes have grown from their experiences and now put a different value on life
itself. Heroes are absolutely essential to life, for without heroes we would have
no one to admire or set our goals to their standards.

Check Your Understanding

Revise one of the two paragraphs above based on your evaluation and discussion
of how it could benefit by additional content, reworking sentences, and using more
precise or formal diction.

Writing Body Paragraphs

Body Paragraphs are the meat of your essay. Outlined by the thesis, they include
the reasons, plus the details and examples, that provide the support for your
thesis. Part of the strength of your support is synthesizing, or pulling together,
examples and details from your experiences and from texts and resources you have

© 2014 College Board. All rights reserved.

read or studied. As you write body paragraphs, be sure to include the following:
• A topic sentence that introduces the focus of the paragraph
• A concluding sentence that follows from the information and explanations
presented
• Details and examples relevant and sufficient to make your point
• Commentary that explains why these details and examples are significant

84 SpringBoard® English Language Arts Grade 8

 ACTIVITY 1.17
continued

• Paraphrases and embedded quotations conveying important details

and examples My Notes
• Transitions to show your understanding of the content by showing the
connections among ideas

Evaluating and Revising Body paragraphs

7. Read the following body paragraph and evaluate its effectiveness. Look at the
transitions, the details and examples, and the commentary, as well as the skill
with which paraphrases and embedded quotations are handled.

Heroism is trying your hardest, no matter the obstacles, to go beyond the needs of
yourself to help others. A son writes about how his mother, Ana, has an obstacle, but
does all that she can to fight it, and does not complain. He says that she fights cancer
with a smile and “hasn’t let it slow her down, either” (Gandara). This shows that even
though she could complain and give up fighting the disease, she tries her hardest,
which inspires her loved ones. In addition, in the movie Mulan, the main character
wants to help her father by enlisting in the army, which is impossible according to
Chinese law because she is a girl. Instead of giving up on this, Mulan decides to
pretend to be a man and goes to extremes to keep up her charade. This is heroic
because her father, being the only male in his family, had to enlist in the army, yet he
was too sick to fight and would have undoubtedly died in the conflict. Facing illness
or danger with courage for the sake of another is inspiring and heroic.

Check Your Understanding

Return to the texts you have read and studied in this unit. Begin to think about which
© 2014 College Board. All rights reserved.

ones you can use to help support your definition of heroism. Make a list of the texts,
the heroes, and the events you may be able to use in your essay. Begin to categorize
them as you think of each definition strategy: function, example, and negation.

Unit 1 • The Challenge of Heroism 85

ACTIVITY 1.17
Expository Writing Focus: Organization
continued

Expository Writing Prompt: Think about people who deserve status as a hero
My Notes from the past, from the present, from life, and from literature. What defines a hero?
Draft an insightful thesis statement using a complex sentence structure. Then,
outline ideas for your essay. Remember to return to your work in Activity 1.13,
page 66, on defining a hero.

Hero Definition Essay Outline

I. INTRODUCTION
Hook: (What would make an effective hook?)
Bridge: (background information and connections)
Thesis: (state your original definition)

II. BODY PARAGRAPH 1 (Function / Example / Negation)

Topic Sentence: (connect to thesis)
Supporting Detail: (list source)
Paraphrase, quotations, examples with commentary
Supporting Detail: (list source)

III. BODY PARAGRAPH 2 (Function / Example / Negation)

Topic Sentence: (connect to thesis)
Supporting Detail: (list source)
Paraphrase, quotations, examples with commentary
Supporting Detail: (list source)

IV. BODY PARAGRAPH 3 (Function / Example / Negation)

Topic Sentence: (connect to thesis)
Supporting Detail: (list source)
Paraphrase, quotations, examples with commentary

© 2014 College Board. All rights reserved.

Supporting Detail: (list source)

V. CONCLUSION
(What would make an effective conclusion?)

86 SpringBoard® English Language Arts Grade 8

 Writing a Definition Essay EMBEDDED
ASSESSMENT 2

Assignment
Think about people who deserve status as heroes—from the past, from the My Notes
present, from life, and from literature. What defines a hero? Write a multi-
paragraph essay that develops your definition of heroism. Be sure to use strategies
of definition (function, example, and negation) to guide your writing.

Planning and Prewriting: Take time to make a plan for your essay.
• Which activities and texts have you collected that will help you refine and
expand your definition of a hero?
• What prewriting strategies (such as free writing or graphic organizers) could
help you brainstorm ideas and organize your examples?

Drafting: Write a multi-paragraph essay that effectively organizes your ideas.

• How will you provide a hook, a bridge, and a thesis in the introduction?
• How will you use the strategies of definition (function, example, negation) in
your support paragraphs?
• How will your conclusion demonstrate the significance of heroism and
encourage readers to accept your definition?

Evaluating and Revising: Create opportunities to review and revise your work.
• During the process of writing, when can you pause to share and respond
with others?
• What is your plan to include suggestions and revision ideas in your draft?
• How can the Scoring Guide help you evaluate how well your draft meets the
requirements of the assignment?

Checking and Editing for Publication: Confirm that your final draft is ready
© 2014 College Board. All rights reserved.

for publication.
• How will you proofread and edit your draft to demonstrate command of the
conventions of standard English capitalization, punctuation, spelling, grammar,
and usage?
• What would be an engaging title for your essay?

Reflection
After completing this Embedded Assessment, think about how you went about
accomplishing this task, and respond to the following:
• Explain how the activities in this unit helped prepare you for success in the
Embedded Assessment.
• Which activities were especially helpful, and why?

Unit 1 • The Challenge of Heroism 87

EMBEDDED
Writing a Definition Essay
ASSESSMENT 2

SCORING GUIDE
Scoring
Exemplary Proficient Emerging Incomplete
Criteria

Ideas The essay The essay The essay The essay

• uses all three • uses strategies of • uses insufficient • does not define a
strategies of definition (function, strategies of hero using strategies
definition effectively example, negation) to definition to define a of definition
to define a hero define a hero hero • has no discernible
• maintains a precise • maintains a clear • has an unclear or thesis
and original thesis thesis unfocused thesis • lacks supporting
• integrates relevant • includes adequate • includes inadequate detail, citations, and/
supporting detail supporting detail supporting detail or commentary.
and evidence (quotes and evidence (quotes and evidence; may
and paraphrases) and paraphrases) have inconsistent
with citations and with citations and citations and/or weak
commentary. commentary. commentary.

Structure The essay The essay The essay The essay

• introduces the • introduces the topic • includes an • lacks an introduction
main idea with an with a hook, bridge, ineffective or partial • has minimal, absent,
engaging hook, and thesis introduction or flawed support
bridge, and thesis • organizes ideas into • has unrelated, paragraphs
• organizes ideas into support paragraphs undeveloped, or • uses few or no
focused support that progress insufficient support transitions and topic
paragraphs that logically paragraphs sentences
progress smoothly • creates coherence • uses transitions • lacks a conclusion.
• creates coherence with the use of and topic sentences
with the purposeful transitions and topic ineffectively or
use of a variety of sentences inconsistently
transitions and topic • provides a conclusion • provides a weak,

© 2014 College Board. All rights reserved.

sentences that follows from the illogical, or repetitive
• provides an insightful ideas presented. conclusion.
conclusion.

Use of The essay The essay The essay The essay

Language • uses consistent • uses diction and • uses diction or a • uses flawed diction
diction and style style that is generally style that is basic or • lacks command of
appropriate for an appropriate for an inappropriate to an the conventions of
academic audience academic audience academic audience standard English
• demonstrates • demonstrates • demonstrates partial capitalization,
command of the adequate command or inconsistent punctuation, spelling,
conventions of of the conventions command of the grammar, and usage;
standard English of standard English conventions of frequent errors
capitalization, capitalization, standard English obscure meaning.
punctuation, spelling, punctuation, spelling, capitalization,
grammar, and usage grammar, and usage punctuation, spelling,
(including complex (including complex grammar, and usage.
sentences). sentences).

88 SpringBoard® English Language Arts Grade 8

 UNIT

The Challenge
of Utopia
Visual Prompt: The perfect society may mean different things to different people. What type of
society does each image represent? What does each say about what is important to the people
who prefer one over the other?

Unit Overview
We probably all agree that we would like to
© 2014 College Board. All rights reserved.

live in an ideal society where everyone is free

and happy, but what does that actually mean,
and why do definitions of the ideal society
differ so greatly? Some would argue that an
ideal life is a life without conflict or problems,
but what is a “perfect” life? In this unit, you
will read, write, and engage in various types
of collaborative discussions to explore these
universal questions. Then, you will move from
discussion and exposition into debate and
effective argumentation as you research and
develop a claim about a contemporary issue.

Unit 2 • The Challenge of Utopia 89

UNIT The Challenge of Utopia
2

GOALS: Contents
• To analyze a novel for
Activities
archetype and theme.
• To analyze and evaluate 2.1 Previewing the Unit ...................................................................92
a variety of expository
and argumentative texts 2.2 Expository Writing: Compare/Contrast ..................................... 93
for ideas, structure, and Essay: “Grant and Lee: A Study in Contrasts,” by Bruce Catton
language.
2.3 Utopian Ideals and Dystopian Reality .....................................100
• To develop informative/
explanatory texts using Short Story: “Harrison Bergeron,” by Kurt Vonnegut, Jr.
the compare/contrast
organizational structure. 2.4 Understanding a Society’s Way of Life ....................................109
• To understand the use of *Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray
active voice and passive Bradbury
voice.
2.5 Contemplating Conflicting Perspectives ..................................112
• To develop effective
arguments using logical *Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray
reasoning, relevant Bradbury
evidence, and persuasive
appeals for effect. 2.6 Questioning Society .................................................................115
*Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray
Bradbury
ACADEMIC VOCABULARY Article: “Banned Books Week: Celebrating the Freedom to
compare/contrast Read,” from the American Library Association
utopia
dystopia
Introducing the Strategy: Socratic Seminar
universal Introducing the Strategy: Fishbowl
seminar
Socratic 2.7 A Shift in Perspective: Beginning the Adventure ......................120
argument *Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray
debate Bradbury

© 2014 College Board. All rights reserved.

controversy
research 2.8 Navigating the Road of Trials ...................................................122
search terms
*Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray
Bradbury
2.9 The End of the Journey ............................................................124
Literary Terms
*Novel: The Giver, by Lois Lowry, or Fahrenheit 451, by Ray
antagonist
Bradbury
Embedded Assessment 1: Writing an Expository Essay ...................127
2.10 Previewing Embedded Assessment 2 and Effective
Argumentation .........................................................................129
2.11 Understanding Elements of Argumentation .............................131
2.12 Don’t Hate—Debate! ............................................................... 134
Introducing the Strategy: Debate

90 SpringBoard® English Language Arts Grade 8

 Language and Writer’s
2.13 Highlighting Logos ...................................................................137 Craft
Article: “Parents Share Son’s Fatal Text Message to Warn • Embedding Direct
Quotations (2.3)
Against Texting & Driving,” from the Associated Press
• Active and Passive
Article: “The Science Behind Distracted Driving,” from KUTV
Voice (2.3)
Austin
• Choosing Mood (2.5)
2.14 Forming and Supporting a Debatable Claim ............................141 • Shifts in Voice and
Mood (2.17)
2.15 Conducting Effective Research ............. …………………………………143
Article: “How the Brain Reacts,” by Marcel Just and Tim Keller
2.16 Gathering and Citing Evidence .................................................149
Article: “Cellphones and driving: As dangerous as we think?” by
Matthew Walberg
2.17 Organizing and Revising Your Argument .................................153
Embedded Assessment 2: Writing an Argumentative Essay .............157

*Texts not included in these materials.

© 2014 College Board. All rights reserved.

Unit 2 • The Challenge of Utopia 91

ACTIVITY Previewing the Unit
2.1

Learning Targets
LEARNING STRATEGIES: • Preview the big ideas and vocabulary for the unit.
Think-Pair-Share, QHT, Close
Reading, Marking the Text, • Identify and analyze the skills and knowledge necessary to be successful in
Paraphrasing, Graphic completing Embedded Assessment 1.
Organizer
Making Connections
In the last unit you studied what it is to be a hero and how heroes test themselves
to find their own heroic qualities. In this unit you will read a novel that features a
INDEPENDENT hero who must struggle to combat forces greater than he knows in his quest for an
READING LINK individual sense of freedom and identity.
You may want to read novels
that present a futuristic Essential Questions
society. The Hunger Games
by Suzanne Collins and The The following Essential Questions will be the focus of the unit study. Respond to
Uglies by Scott Westerfeld both questions.
are titles you might find 1. To what extent can a perfect or ideal society exist?
interesting. Brainstorm and
share additional titles with
your class.

2. What makes an argument effective?

My Notes
Vocabulary Development
Create a QHT chart in your Reader/Writer Notebook and sort the Academic
Vocabulary and Literary Terms on the Contents page into the columns Q, H, and T.
One academic goal would be to move all words to the “T” column by the end of
the unit.

Unpacking Embedded Assessment 1

© 2014 College Board. All rights reserved.

Read the assignment for Embedded Assessment 1: Writing an Expository Essay.
Think about how writers organize and develop ideas in expository writing.
Use an expository structure to communicate your understanding of the
concept of dystopia and/or the concept of the Hero’s Journey. Select one of
the prompts below:
• Write an essay that compares and contrasts life in a dystopian society with
modern day society.
• Write an essay that explains how the protagonist (hero) changes as a result
of conflict with his dystopian society (Road of Trials), and explain how this
change connects to the novel’s theme (the Crossing, or Return Threshold).

Work with your class to paraphrase the expectations and create a graphic organizer to
use as a visual reminder of the required concepts and skills. Once you have analyzed
the assignment, go to the Scoring Guide for a deeper look into the requirements of the
assignment. Add additional information to your graphic organizer.

92 SpringBoard® English Language Arts Grade 8

 Expository Writing: ACTIVITY

Compare/Contrast 2.2

Learning Targets
• Analyze and explain how a writer uses the compare/contrast structure to LEARNING STRATEGIES:
Graphic Organizer, QHT,
communicate ideas.
Close Reading, Marking
• Construct a paragraph that demonstrates an understanding of this the Text, Summarizing,
organizational structure. Rereading, Brainstorming,
Drafting
Review of Expository Writing
You have had many experiences writing in the expository mode. Every time you
explain something or define a concept or idea, you are writing an expository text.
One form of expository writing is compare/contrast. This method of organization ACADEMIC VOCABULARY
Compare/contrast is a
is an important model of exposition to master and can be used in many different
rhetorical strategy and
writing situations.
method of organization in
1. Brainstorm ideas for topics for different school subjects that would require you which a writer examines
to write a compare/contrast essay. similarities and differences
between two people, places,
ideas, or things.

My Notes
2. Writers use planning and prewriting to decide how to organize their ideas. The
graphic organizer below shows two methods of organizing a compare/contrast
essay, using “reptiles vs. mammals” as a topic.

Subject-by-Subject Feature-by-Feature
Organization Organization

Discuss all the features of one Select a feature common to both

subject and then all the features of subjects and then discuss each
© 2014 College Board. All rights reserved.

the other. subject in light of that feature. Then

go on to the next feature.

Subject A: Mammals Habitat

Habitat Subject A: Mammals
Reproduction Subject B: Reptiles
Physiology Reproduction
Subject B: Reptiles Subject A: Mammals
Habitat Subject B: Reptiles
Reproduction Physiology
Physiology Subject A: Mammals
Subject B: Reptiles

3. Why would a writer select one organizational structure over the other?

Unit 2 • The Challenge of Utopia 93

ACTIVITY 2.2
Expository Writing:
continued Compare/Contrast
4. Writers often use a graphic organizer to generate ideas. Explain how the graphic
My Notes organizer could help you in structuring an essay comparing and contrasting two
subjects.

Before Reading
5. In Unit 1 you studied poems about President Abraham Lincoln and Frederick
Douglass, a leader in the anti-slavery movement. The following text compares
and contrasts two additional Civil War heroes: Ulysses S. Grant, leader of the
Union Army (North), and Robert E. Lee, leader of the Confederate Army (South).
6. Read the following quotations. What heroic qualities are described by these
statements? Make inferences about each man’s character. Record your
inferences in the My Notes space.

Ulysses S. Grant, Leader of the Union Army

• “Although a soldier by profession, I have never felt any sort of fondness for
war, and I have never advocated it, except as a means of peace.”

• “I appreciate the fact, and am proud of it, that the attentions I am receiving are
intended more for our country than for me personally.”

• “If you see the President, tell him from me that whatever happens there will be
no turning back.”

Robert E. Lee, Leader of the Confederate Army

© 2014 College Board. All rights reserved.

• “Duty is the most sublime word in our language. Do your duty in all things. You
cannot do more. You should never wish to do less.”

• “I think it better to do right, even if we suffer in so doing, than to incur the

reproach of our consciences and posterity.”
• “The education of a man is never completed until he dies.”

During Reading
7. You will next read a nonfiction narrative, Bruce Catton’s “Grant and Lee: A Study
in Contrasts.” As you read, analyze the writer’s organization, or structure, by
asking questions such as the following:
• How does the writer introduce the topic and preview what is to follow?
• How are the paragraphs organized? Annotate the text by indicating the focus
(similarities/differences) of each paragraph. Mark the text by highlighting
words that help you identify the focus of each paragraph.
• What is the effect of this organizational structure?

94 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.2
continued

ABOUT THE AUTHOR My Notes

Bruce Catton (1899–1978) was a noted historian and journalist whose books
on the Civil War were celebrated for narrative historical style. The third book
in a trilogy on the Civil War, A Stillness at Appomattox, earned Catton both a
Pulitzer Prize and the National Book Award (1954).

Nonfiction Narrative

GRANT LEE:
A STUDY IN CONTRASTS
AND

by Bruce Catton

“Grant and Lee: A Study in Contrasts” was written as a chapter of The American
Story, a collection of essays by noted historians. In this study, as in most of his
other writing, Bruce Catton does more than recount the facts of history: he shows
the significance within them. It is a carefully constructed essay, using contrast and
comparison as the entire framework for his explanation.
1 When Ulysses S. Grant and Robert E. Lee met in the parlor of a modest house at KEY IDEAS AND DETAILS
Appomattox Court House, Virginia, on April 9, 1865, to work out the terms for the In paragraph 1, why does
surrender of Lee’s Army of Northern Virginia, a great chapter on American life came to the author compare the
a close, and a great new chapter began. Grant/Lee meeting to a
“chapter?”
2 These men were bringing the Civil War to In paragraph 3, how does
its virtual finish. To be sure, other armies had the author use a metaphor
yet to surrender, and for a few days the fugitive to communicate conflict?
Confederate government would struggle
desperately and vainly, trying to find some way
© 2014 College Board. All rights reserved.

to go on living now that its chief support was

gone. But in effect it was all over when Grant
and Lee signed the papers. And the little room
where they wrote out the terms was the scene
of one of the poignant, dramatic contrasts in
American History.
3 They were two strong men, these oddly
different generals, and they represented the
strengths of two conflicting currents that, KEY IDEAS AND DETAILS
through them, had come into final collision. In paragraphs 4 and 5,
highlight the words
4 Back of Robert E. Lee was the notion that Ulysses S. Grant “aristocratic,” “chivalry,”
the old aristocratic concept might somehow “knighthood,“ and “country
survive and be dominant in American life. squire.” Use reference
resources to determine how
5 Lee was tidewater Virginia, and in his background were family, culture, and
all these words are related,
tradition . . . the age of chivalry transplanted to a New World which was making its own and then infer what the
legends and its own myths. He embodied1 a way of life that had come down through author believes Robert E.
Lee embodied.
1 embodied: personified, exemplified

Unit 2 • The Challenge of Utopia 95

 ACTIVITY 2.2
Expository Writing:
continued Compare/Contrast
the age of knighthood and the English country
My Notes squire. America was a land that was beginning
all over again, dedicated to nothing much
more complicated than the rather hazy belief
that all men had equal rights and should have
an equal chance in the world. In such a land
Lee stood for the feeling that it was somehow
of advantage to human society to have a
pronounced inequality in the social structure.
There should be a leisure class, backed by
ownership of land; in turn, society itself should
be tied to the land as the chief source of wealth
and influence. It would bring forth (according
to this ideal) a class of men with a strong sense
of obligation to the community; men who
lived not to gain advantage for themselves,
but to meet the solemn obligations which had Robert E. Lee
been laid on them by the very fact that they
were privileged. From them the country would
get its leadership; to them it could look for higher values—of thought, of conduct, or
personal deportment2—to give it strength and virtue.
6 Lee embodied the noblest elements of this aristocratic ideal. Through him, the
KEY IDEAS AND DETAILS landed nobility justified itself. For four years, the Southern states had fought a desperate
What diction does the author war to uphold the ideals for which Lee stood. In the end, it almost seemed as if the
use in paragraphs 7 and Confederacy fought for Lee; as if he himself was the Confederacy . . . the best thing
8 to characterize Grant’s that the way of life for which the Confederacy stood could ever have to offer. He had
background and set him apart passed into legend before Appomattox. Thousands of tired, underfed, poorly clothed
from Lee? Confederate soldiers, long since past the simple enthusiasm of the early days of the
struggle, somehow considered Lee the symbol of everything for which they had been
willing to die. But they could not quite put this feeling into words. If the Lost Cause,
sanctified by so much heroism and so many deaths, had a living justification, its
justification was General Lee.

© 2014 College Board. All rights reserved.

7 Grant, the son of a tanner3 on the Western frontier, was everything Lee was not.
He had come up the hard way and embodied nothing in particular except the eternal
toughness and sinewy fiber of the men who grew up beyond the mountains. He was one
of a body of men who owed reverence and obeisance4 to no one, who were self-reliant
to a fault, who cared hardly anything for the past but who had a sharp eye for the future.
8 These frontier men were the precise opposites of the tidewater aristocrats. Back
of them, in the great surge that had taken people over the Alleghenies and into the
opening Western country, there was a deep, implicit dissatisfaction with a past that
had settled into grooves. They stood for democracy, not from any reasoned conclusion
GRAMMAR USAGE about the proper ordering of human society, but simply because they had grown up in
Conditional Tense the middle of democracy and knew how it worked. Their society might have privileges,
Note the usage of the but they would be privileges each man had won for himself. Forms and patterns meant
conditional tense in nothing. No man was born to anything, except perhaps to a chance to show how far he
paragraph 9: “If the land was could rise. Life was competition.
settled . . . he could better
himself.” How does the use
of the conditional support the 2 deportment: behavior
main idea of this paragraph? 3 tanner: leather worker
4 obeisance: respectful submission or yielding to the judgment, opinion, will, etc., of another

96 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.2
continued

9 Yet along with this feeling had come a deep sense of belonging to a national
community. The Westerner who developed a farm, opened a shop, or set up in business My Notes
as a trader could hope to prosper only as his own community prospered—and his
community ran from the Atlantic to the Pacific and from Canada down to Mexico. If
the land was settled, with towns and highways and accessible markets, he could better
himself. He saw his fate in terms of the nation’s own destiny. As its horizons expanded,
so did his. He had, in other words, an acute dollars-and-cents stake in the continued
growth and development of his country.
KEY IDEAS AND DETAILS
10 And that, perhaps, is where the contrast between Grant and Lee becomes most Which paragraph signals a
striking. The Virginia aristocrat, inevitably, saw himself in relation to his own region. change from a discussion
He lived in a static5 society which could endure almost anything except change. of the generals’ differences
Instinctively, his first loyalty would go to the locality in which that society existed. to a discussion of their
He would fight to the limit of endurance to defend it, because in defending it he was similarities? What transition
defending everything that gave his own life its deepest meaning. words help you see this?
11 The Westerner, on the other hand, would fight with an equal tenacity6 for the
broader concept of society. He fought so because everything he lived by was tied to
growth, expansion, and a constantly widening horizon. What he lived by would survive
or fall with the nation itself. He could not possibly stand by unmoved in the face of an
attempt to destroy the Union. He would combat it with everything he had, because he
could only see it as an effort to cut the ground out from under his feet.
12 So Grant and Lee were in complete contrast, representing two diametrically
opposed elements in American life. Grant was the modern man emerging; beyond
him, ready to come on the stage was the great age of steel and machinery, of crowded KEY IDEAS AND DETAILS
cities and a restless burgeoning7 vitality. Lee might have ridden down from the old age Record the points of
of chivalry, lance in hand, silken banner fluttering over his head. Each man was the similarity between Grant
perfect champion for his cause, drawing both his strengths and his weaknesses from and Lee presented in the
the people he led. last three paragraphs.
13 Yet it was not all contrast, after all. Different as they were—in background, in
personality, in underlying aspiration—these two great soldiers had much in common.
Under everything else, they were marvelous fighters. Furthermore, their fighting
qualities were really very much alike.
© 2014 College Board. All rights reserved.

14 Each man had, to begin with, the great virtue of utter tenacity and fidelity8. Grant
fought his way down the Mississippi Valley in spite of acute personal discouragement
and profound military handicaps. Lee hung on in the trench at Petersburg after hope
born of a fighter’s refusal to give up as long as he can still remain on his feet and lift his
two fists.
15 Daring and resourcefulness they had, too: the ability to think faster and move faster
than the enemy. These were the qualities which gave Lee the dazzling campaigns of
Second Manassas and Chancellorsville and won Vicksburg for Grant.
16 Lastly, and perhaps greatest of all, there was the ability, at the end, to turn
quickly from the war to peace once the fighting was over. Out of the way these two
men behaved at Appomattox came the possibility of peace of reconciliation. It was a
possibility not wholly realized, in the year to come, but which did, in the end, help

5 static: showing little or no change

6 tenacity: the quality of holding together; remaining persistent
7 burgeoning: quickly growing or developing; flourishing
8 fidelity: strict observance of promises, duties, etc.; loyalty; faithfulness

Unit 2 • The Challenge of Utopia 97

 ACTIVITY 2.2
Expository Writing:
continued Compare/Contrast
the two sections to become one nation again … after a war whose bitterness might
GRAMMAR USAGE have seemed to make such a reunion wholly impossible. No part of either man’s life
Dashes became him more than the part he played in their brief meeting in the McLean house at
Bruce Catton uses dashes to Appomattox. Their behavior there put all succeeding generations of Americans in their
emphasize a point or to set debt. Two great Americans, Grant and Lee—very different, yet under everything very
off an explanatory comment. much alike. Their encounter at Appomattox was one of the great moments of American
For example, look at the last history.
sentence beginning “Two
great Americans. . .” Catton
uses a dash to emphasize that
Grant and Lee, while different After Reading
people, are very much alike.
8. This essay was very carefully organized. Skim the paragraphs, noting the
Catton uses several dashes content of the paragraphs and the text you have highlighted. Then, create a
in this article. Find examples brief outline of the text’s organizational structure.
and study how you might
incorporate dashes into your
own writing.

My Notes

9. What is the central idea or purpose of the text? Provide textual evidence to
support your analysis.

© 2014 College Board. All rights reserved.

98 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.2
continued

Creating Coherence
In Unit 1, you learned that coherence in writing is the clear and orderly My Notes
presentation of ideas in a paragraph or essay. One way a writer creates coherence
is to use transitional words, phrases, and sentences to link ideas within and
between paragraphs. The following chart lists some transitional words and phrases
that create coherence in compare/contrast essays.

Transitions That Transitions That Contrast

Compare

Likewise Although Nevertheless

Similarly Instead Still
In the same way Even though However
On the other hand Yet/But
On the contrary Rather
In contrast Conversely

10. Sort the transitions using the QHT strategy. Then, practice using some of the
transitions on a subject that you know about such as short stories versus
poetry. Write a few sentences below.

Check Your Understanding

Expository Writing Prompt: Write a short compare/contrast essay comparing
Robert E. Lee and Ulysses S. Grant. Be sure to:
• Explain at least one difference and one similarity of the two subjects.
© 2014 College Board. All rights reserved.

• Organize ideas logically (subject-by-subject or feature-by-feature). Refer to the

chart on page 93 for these organizational structures.
• Create coherence by using transitional words and phrases.

Unit 2 • The Challenge of Utopia 99

ACTIVITY Utopian Ideals
2.3 and Dystopian Reality
Learning Targets
LEARNING STRATEGIES: • Explain the difference between utopia and dystopia.
Close Reading, Rereading,
Diffusing, Paraphrasing, • Use direct quotations and correct punctuation for effect.
Marking the Text, Shared • Closely read a story and analyze the relationship between character and theme.
Reading, Think Aloud
Before Reading
A utopia is an ideal or perfect community or society. Read the following
informational text to learn about the development of this concept.
ACADEMIC VOCABULARY
A utopia is a real or imagined The western idea of utopia originates in the ancient world, where legends of an
place considered to be ideal earthly paradise (e.g. Eden in the Old Testament, the mythical Golden Age of Greek
or perfect (politically, socially, mythology), combined with the human desire to create, or re-create, an ideal
economically, technologically, society, helped form the utopian idea.
ecologically, religiously, etc.).
The English statesman Sir Thomas More (1478–1535) wrote the book Utopia in
People in a utopia lead civilized
lives filled with peace, fulfillment,
1516. Describing a perfect political and social system on an imaginary island
and happiness. named Utopia, the term “utopia” has since entered the English language meaning
any place, state, or situation of ideal perfection.
Both the desire for Eden-like perfection and an attempt to start over in “unspoiled”
America led religious and nonreligious groups and societies to set up communities
WORD in the United States. These experimental utopian communities were committed to
CONNECTIONS such ideals as simplicity, sincerity, and brotherly love.
Roots and Affixes
1. Think about your own utopian society or community. If you had to define a set of
The word utopia is made from values that would be found in such a society, what are three you think would be
the Greek words ou-, meaning most important? Compare responses and look for consensus.
“no,” and topos, meaning
“place.” But it also is similar to
eutopia, made from the English
prefix eu-, meaning “good,”
and topos. This implies that the 2. The word utopia creates a paradox in its mixing of two opposite meanings:
perfectly “good place” is really “no place” and also “good place.” Write a short paragraph that tells how both
“no place.” meanings of utopia might be true at the same time.

© 2014 College Board. All rights reserved.

My Notes

100 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.3
continued

3. Once the idea of a utopia was created, its opposite, the idea of a dystopia, was
also created. It is the opposite of a utopia. Such societies appear in many works ACADEMIC VOCABULARY
of fiction, particularly in stories set in a speculative future. Why would the idea A dystopia is a community
of a utopia lead to the creation of a dystopia? or society, usually fictional,
that is in some important
way undesirable or
frightening.

During Reading
4. As you read, mark the text to indicate important features of the setting and rules
of the community and evidence about the type of conflict that has been created My Notes
in this society.

ABOUT THE AUTHOR

Kurt Vonnegut (1922–2007) was one of the most influential American
writers of the 20th century. He wrote such works as Cat’s Cradle (1963),
Slaughterhouse-Five (1969), and Breakfast of Champions (1973), blending
satire, black comedy, and science fiction. He was known for his humanist
beliefs and was honorary president of the American Humanist Association.

Short Story

Harrison Bergeron
by Kurt Vonnegut, Jr.

1 THE YEAR WAS 2081, and everybody was finally equal. They weren’t only
equal before God and the law. They were equal every which way. Nobody was
© 2014 College Board. All rights reserved.

smarter than anybody else. Nobody was better looking than anybody else.
Nobody was stronger or quicker than anybody else. All this equality was due
to the 211th, 212th, and 213th Amendments to the Constitution, and to the
unceasing vigilance of agents of the United States Handicapper General.
2 Some things about living still weren’t quite right, though. April for instance,
still drove people crazy by not being springtime. And it was in that clammy
month that the H-G men took George and Hazel Bergeron’s fourteen-year-old son,
Harrison, away.
3 It was tragic, all right, but George and Hazel couldn’t think about it very hard.
Hazel had a perfectly average intelligence, which meant she couldn’t think about
anything except in short bursts. And George, while his intelligence was way above
normal, had a little mental handicap radio in his ear. He was required by law to wear it
at all times. It was tuned to a government transmitter. Every twenty seconds or so, the
transmitter would send out some sharp noise to keep people like George from taking
unfair advantage of their brains.
4 George and Hazel were watching television. There were tears on Hazel’s cheeks, but
she’d forgotten for the moment what they were about, as the ballerinas came to the end
of a dance.

Unit 2 • The Challenge of Utopia 101

 ACTIVITY 2.3
Utopian Ideals
continued and Dystopian Reality
5 A buzzer sounded in George’s head. His thoughts fled in panic, like bandits from a
WORD burglar alarm.
CONNECTIONS
6 “That was a real pretty dance, that dance they just did,” said Hazel.
Word Meanings
7 “Huh,” said George.
Handicapping, a word taken
from sports, is the practice of 8 “That dance—it was nice,” said Hazel.
assigning advantage to certain
9 “Yup,” said George. He tried to think a little about the ballerinas. They weren’t
players to equalize the chances
of winning. The idea is that really very good—no better than anybody else would have been, anyway. They were
a more experienced player burdened with sash weights and bags of birdshot, and their faces were masked, so that
is disadvantaged in order to no one, seeing a free and graceful gesture or a pretty face, would feel like something
make it possible for a less the cat drug in. George was toying with the vague notion that maybe dancers shouldn’t
experienced player to compete be handicapped. But he didn’t get very far with it before another noise in his ear radio
while maintaining fairness. scattered his thoughts.
Handicapping is used in many 10 George winced. So did two out of the eight ballerinas.
games and competitive sports,
including chess, croquet, golf, 11 Hazel saw him wince. Having no mental handicap herself, she had to ask George
and bowling. what the latest sound had been.
12 “Sounded like somebody hitting a milk bottle with a ball peen hammer,” said
George.
My Notes 13 “I’d think it would be real interesting, hearing all the different sounds,” said Hazel a
little envious. “All the things they think up.”
14 “Um,” said George.

15 “Only, if I was Handicapper General, you know what I would do?” said Hazel.
Hazel, as a matter of fact, bore a strong resemblance to the Handicapper General, a
woman named Diana Moon Glampers. “If I was Diana Moon Glampers,” said Hazel,
“I’d have chimes on Sunday—just chimes. Kind of in honor of religion.”
16 “I could think, if it was just chimes,” said George.
KEY IDEAS AND DETAILS 17 “Well—maybe make ‘em real loud,” said Hazel. “I think I’d make a good
Why does George have Handicapper General.”

© 2014 College Board. All rights reserved.

“mental handicaps”? Why
doesn’t Hazel have any? 18 “Good as anybody else,” said George.
What are some of the sounds
19 “Who knows better than I do what normal is?” said Hazel.
George must endure?
20 “Right,” said George. He began to think glimmeringly about his abnormal son who
was now in jail, about Harrison, but a twenty-one-gun salute in his head stopped that.
21 “Boy!” said Hazel, “that was a doozy, wasn’t it?”

22 It was such a doozy that George was white and trembling, and tears stood on the
rims of his red eyes. Two of the eight ballerinas had collapsed to the studio floor, were
holding their temples.
23 “All of a sudden you look so tired,” said Hazel. “Why don’t you stretch out on the
sofa, so’s you can rest your handicap bag on the pillows, honeybunch.” She was referring
to the forty-seven pounds of birdshot in a canvas bag, which was padlocked around
George’s neck. “Go on and rest the bag for a little while,” she said. “I don’t care if you’re
not equal to me for a while.”
24 George weighed the bag with his hands. “I don’t mind it,” he said. “I don’t notice it
any more. It’s just a part of me.”

102 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.3
continued

25 “You been so tired lately—kind of wore out,” said Hazel. “If there was just some way
we could make a little hole in the bottom of the bag, and just take out a few of them lead My Notes
balls. Just a few.”
26 “Two years in prison and two thousand dollars fine for every ball I took out,” said
George. “I don’t call that a bargain.”
27 “If you could just take a few out when you came home from work,” said Hazel.
“I mean—you don’t compete with anybody around here. You just sit around.”
KEY IDEAS AND DETAILS
28 “If I tried to get away with it,” said George, “then other people’d get away with it— Why is the punishment for
and pretty soon we’d be right back to the dark ages again, with everybody competing removing weight from the
against everybody else. You wouldn’t like that, would you?” “handicap bag” so harsh?
What do you infer about
29 “I’d hate it,” said Hazel. punishment for other ways
30 “There you are,” said George. The minute people start cheating on laws, what do of breaking the “handicap”
you think happens to society?” rules?

31 If Hazel hadn’t been able to come up with an answer to this question, George
couldn’t have supplied one. A siren was going off in his head.
32 “Reckon it’d fall all apart,” said Hazel.

33 “What would?” said George blankly.

34 “Society,” said Hazel uncertainly. “Wasn’t that what you just said?

35 “Who knows?” said George.

36 The television program was suddenly interrupted for a news bulletin. It wasn’t clear
at first as to what the bulletin was about, since the announcer, like all announcers, had a
serious speech impediment. For about half a minute, and in a state of high excitement,
the announcer tried to say, “Ladies and Gentlemen.”
37 He finally gave up, handed the bulletin to a ballerina to read.

38 “That’s all right—” Hazel said of the announcer, “he tried. That’s the big thing. He
tried to do the best he could with what God gave him. He should get a nice raise for
© 2014 College Board. All rights reserved.

trying so hard.”
39 “Ladies and Gentlemen,” said the ballerina, reading the bulletin. She must have
been extraordinarily beautiful, because the mask she wore was hideous. And it was easy
to see that she was the strongest and most graceful of all the dancers, for her handicap KEY IDEAS AND DETAILS
bags were as big as those worn by two-hundred pound men. In this story, Hazel is
40 And she had to apologize at once for her voice, which was a very unfair voice for
described as normal,
and her son Harrison is
a woman to use. Her voice was a warm, luminous, timeless melody. “Excuse me—” she
described as abnormal. In
said, and she began again, making her voice absolutely uncompetitive.
this context, what is the
41 “Harrison Bergeron, age fourteen,” she said in a grackle squawk, “has just escaped connotation of the words
from jail, where he was held on suspicion of plotting to overthrow the government. He normal and abnormal?
is a genius and an athlete, is under-handicapped, and should be regarded as extremely What is the intended effect?
dangerous.”
42 A police photograph of Harrison Bergeron was flashed on the screen—upside
down, then sideways, upside down again, then right side up. The picture showed the full
length of Harrison against a background calibrated in feet and inches. He was exactly
seven feet tall.

Unit 2 • The Challenge of Utopia 103

ACTIVITY Utopian Ideals
X.X
ACTIVITY 2.3
continued and Dystopian Reality
43 The rest of Harrison’s appearance was Halloween and hardware. Nobody had ever
My Notes borne heavier handicaps. He had outgrown hindrances faster than the H-G men could
think them up. Instead of a little ear radio for a mental handicap, he wore a tremendous
pair of earphones, and spectacles with thick wavy lenses. The spectacles were intended
to make him not only half blind, but to give him whanging headaches besides.
44 Scrap metal was hung all over him. Ordinarily, there was a certain symmetry, a
military neatness to the handicaps issued to strong people, but Harrison looked like a
walking junkyard. In the race of life, Harrison carried three hundred pounds.
45 And to offset his good looks, the H-G men required that he wear at all times a red
rubber ball for a nose, keep his eyebrows shaved off, and cover his even white teeth with
black caps at snaggle-tooth random. “If you see this boy,” said the ballerina, “do not—I
repeat, do not—try to reason with him.”
46 There was the shriek of a door being torn from its hinges.

47 Screams and barking cries of consternation came from the television set. The
photograph of Harrison Bergeron on the screen jumped again and again, as though
dancing to the tune of an earthquake.
KEY IDEAS AND DETAILS
Why is it effective that 48 George Bergeron correctly identified the earthquake, and well he might have—for
Harrison is compared to a many was the time his own home had danced to the same crashing tune. “My
“walking junkyard”? God—” said George, “that must be Harrison!”
49 The realization was blasted from his mind instantly by the sound of an automobile
collision in his head.
50 When George could open his eyes again, the photograph of Harrison was gone. A
living, breathing Harrison filled the screen.
51 Clanking, clownish, and huge, Harrison stood—in the center of the studio.
KEY IDEAS AND DETAILS The knob of the uprooted studio door was still in his hand. Ballerinas, technicians,
How does the author use musicians, and announcers cowered on their knees before him, expecting to die.
parallel structure for effect in
paragraph 51? In paragraph 53? 52 “I am the Emperor!” cried Harrison. “Do you hear? I am the Emperor! Everybody
must do what I say at once!” He stamped his foot and the studio shook.

© 2014 College Board. All rights reserved.

53 “Even as I stand here,” he bellowed, “crippled, hobbled, sickened—I am a greater
ruler than any man who ever lived! Now watch me become what I can become!”
54 Harrison tore the straps of his handicap harness like wet tissue paper, tore straps
guaranteed to support five thousand pounds.
55 Harrison’s scrap-iron handicaps crashed to the floor.

56 Harrison thrust his thumbs under the bar of the padlock that secured his head
harness. The bar snapped like celery. Harrison smashed his headphones and spectacles
KEY IDEAS AND DETAILS against the wall.
What does Harrison do and 57 He flung away his rubber-ball nose, revealed a man that would have awed Thor, the
say to show he is a rebel god of thunder.
against his society? Is this
heroic? 58 “I shall now select my Empress!” he said, looking down on the cowering people.
“Let the first woman who dares rise to her feet claim her mate and her throne!”
59 A moment passed, and then a ballerina arose, swaying like a willow.

60 Harrison plucked the mental handicap from her ear, snapped off her physical
handicaps with marvelous delicacy. Last of all he removed her mask.

104 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.3
continued

61 She was blindingly beautiful.

62 “Now—” said Harrison, taking her hand, “shall we show the people the meaning of My Notes
the word dance? Music!” he commanded.
63 The musicians scrambled back into their chairs, and Harrison stripped them of
their handicaps, too. “Play your best,” he told them, “and I’ll make you barons and
dukes and earls.”
64 The music began. It was normal at first—cheap, silly, false. But Harrison snatched
two musicians from their chairs, waved them like batons as he sang the music as he
wanted it played. He slammed them back into their chairs.
65 The music began again and was much improved.

66 Harrison and his Empress merely listened to the music for a while—listened
gravely, as though synchronizing their heartbeats with it. KEY IDEAS AND DETAILS
Examine the author’s
67 They shifted their weights to their toes. choice of verbs to describe
the actions of Harrison and
68 Harrison placed his big hands on the girl’s tiny waist, letting her sense the
the ballerina in motion.
weightlessness that would soon be hers.
What is the intended effect?
69 And then, in an explosion of joy and grace, into the air they sprang!

70 Not only were the laws of the land abandoned, but the law of gravity and the laws
of motion as well.
71 They reeled, whirled, swiveled, flounced, capered, gamboled, and spun.

72 They leaped like deer on the moon.

73 The studio ceiling was thirty feet high, but each leap brought the dancers nearer
to it.
74 It became their obvious intention to kiss the ceiling. They kissed it.
KEY IDEAS AND DETAILS
75 And then, neutralizing gravity with love and pure will, they remained suspended in How is the story’s
air inches below the ceiling, and they kissed each other for a long, long time. theme reflected in the
conversation between
© 2014 College Board. All rights reserved.

76 It was then that Diana Moon Glampers, the Handicapper General, came into the Hazel and George that
studio with a double-barreled ten-gauge shotgun. She fired twice, and the Emperor and concludes the story?
the Empress were dead before they hit the floor.
77 Diana Moon Glampers loaded the gun again. She aimed it at the musicians and
told them they had ten seconds to get their handicaps back on.
78 It was then that the Bergerons’ television tube burned out.

79 Hazel turned to comment about the blackout to George. But George had gone out
into the kitchen for a can of beer.
80 George came back in with the beer, paused while a handicap signal shook him up.
And then he sat down again. “You been crying” he said to Hazel.
81 “Yup,” she said.

82 “What about?” he said.

83 “I forget,” she said. “Something real sad on television.”

84 “What was it?” he said.

Unit 2 • The Challenge of Utopia 105

ACTIVITY 2.3
Utopian Ideals
continued and Dystopian Reality
85 “It’s all kind of mixed up in my mind,” said Hazel.
My Notes 86 “Forget sad things,” said George.

87 “I always do,” said Hazel.

88 “That’s my girl,” said George. He winced. There was the sound of a riveting gun in
his head.
89 “Gee—I could tell that one was a doozy,” said Hazel.

90 “You can say that again,” said George.

91 “Gee—” said Hazel, “I could tell that one was a doozy.”

After Reading
5. Complete the chart below.

(a) What “ideal” Interpretation:

is the society
based upon?
Evidence:

(b) What did the Interpretation:

society sacrifice
in order to
create this Evidence:
“ideal” life?

(c) How was this Interpretation:

© 2014 College Board. All rights reserved.

utopian ideal
transformed
into a dystopian
reality?
Evidence:

(d) What new Interpretation:

problems were
created?

Evidence:

106 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.3
continued

Language and Writer’s Craft: Embedding Direct Quotations GRAMMAR USAGE

After writing the controlling idea (thesis) for a paragraph or essay, the writer needs Conventions
to develop additional ideas to support the thesis. The writer does this by providing An ellipsis is a row of three
specific evidence, such as paraphrased and/or direct quotations and insightful dots (. . .) that indicates
analysis (explanation). something omitted from
Review the following information about using direct quotations in your writing: within a quoted passage.
• Remember to avoid plagiarism by paraphrasing or directly quoting evidence. Two things to consider:
Although it is often easier to paraphrase information, a direct quotation can (1) Using an ellipsis is a
strengthen ideas if it is selected carefully and embedded smoothly. form of “editing” the source
material, so be certain that
• In order to smoothly embed a direct quotation, just remember TLQC format
the final outcome does not
(transition, lead-in, quotation, citation; see Activity 1.15, page 76). For example:
change the original meaning
The reader is stunned by Harrison’s dramatic death scene, yet Harrison’s or intent of the quoted
parents hardly react. When George realizes Hazel has been crying, he simply passage.
says, “‘Forget sad things’” (Vonnegut 6). (2) If quoted text ends up
• Using ellipses and brackets helps you to include more without writing out with more ellipses than
long pieces of quoted material. Study how the quoted material below has been words, consider paraphrasing
added smoothly with the use of ellipses. rather than using direct
“Harrison tore the straps of his handicap harness like wet tissue paper, tore quotes.
straps guaranteed to support five thousand pounds. Harrison’s scrap-iron Brackets ([ ]) are most often
handicaps crashed to the floor.” used to clarify the meaning
of quoted material. If the
The reader celebrates the moment when “Harrison tore the straps of his
context of your quote might
handicap harness like wet tissue paper… [and] scrap-iron handicaps crashed to
be unclear, you may add a
the floor,” allowing him full freedom at last (Vonnegut 104).
few words to provide clarity.
Enclose the added material in
brackets.
Language and Writer’s Craft: Active and Passive Voice For example: “They [the other
Writers use active and passive voice to convey certain effects. Be sure you team] played a better game.”
understand and use these voices correctly and deliberately.
• You should generally use active voice because it puts the emphasis on who or
© 2014 College Board. All rights reserved.

what is performing the action of the verb rather than on the verb itself.
• The passive voice contains some form of “be” (is,
is, was, were, was being, has My Notes
been, etc.) plus a past participle of the verb.
Active voice: Harrison removed his handicaps.
Passive voice: The handicaps were removed by Harrison.
Notice that in the active voice the emphasis is on Harrison as the one who is taking
action. There is nothing inherently wrong with passive voice, but if you can say the
same thing in active mode, your sentences will be more vibrant and direct. Later in
this unit you will learn more about when it is appropriate to use the passive voice.
• Most importantly, do not mix active and passive constructions in the same
sentence:
“The Handicapper General approved the new handicaps, and a new amendment
was added.
should be recast as
“The Handicapper General approved the new handicaps and added the new
amendment.”

Unit 2 • The Challenge of Utopia 107

 ACTIVITY 2.3
Utopian Ideals
continued and Dystopian Reality
Check Your Understanding
GRAMMAR USAGE Expository Writing Prompt: How does “Harrison Bergeron” convey the conflict
Verb Voice
between the needs or ideals of society and the realities of individuals? Be sure to:
The passive voice is • Provide examples from the [question is about a specific text] text and use at
particularly useful (even least one direct quotation to support your ideas.
recommended) in two
situations: • Include a reference to utopia and dystopia.
• When it is more important • Use active voice unless you choose passive voice for a certain effect.
to draw our attention to the
person or thing acted upon:
The unidentified victim was
struck near her home.
• When the actor in the
situation is not important:
The eaglet’s birth was
witnessed in the early
morning hours.

My Notes

© 2014 College Board. All rights reserved.

108 SpringBoard® English Language Arts Grade 8

 Understanding a Society’s ACTIVITY

Way of Life 2.4

Learning Targets
• Analyze text and create a visual display that explains a society’s way of life and LEARNING STRATEGIES:
Visualizing, Questioning the
the protagonist’s place in that society.
Text, Predicting, Graphic
• Analyze the significance of specific passages to interpret the relationship Organizer, Note-taking,
between character and setting. Discussion Groups

Questioning the Text

Remember that questioning a text on multiple levels can help you explore its
meaning more fully. Read the definitions below and write an example of each type My Notes
of question, based on texts you have read in this unit.
• A Level 1 question is literal (the answer can be found in the text).

• A Level 2 question is interpretive (the answer can be inferred based on textual

evidence).

• A Level 3 question is universal (the answer is about a concept or idea beyond

the text). ACADEMIC VOCABULARY
Describing something as
universal means that it
is characteristic of all or
the whole; it has general
application.
You will be reading a novel that questions whether a utopian society is possible.
Such novels generally fit into the genre of science fiction.
1. Read the following text to gather more information about science fiction (from
readwritethink.org). As you read, highlight the characteristics of science fiction.
© 2014 College Board. All rights reserved.

Science fiction is a genre of fiction in which the stories often tell about science
and technology of the future. It is important to note that science fiction has
a relationship with the principles of science—these stories involve partially
true/partially fictitious laws or theories of science. It should not be completely
unbelievable with magic and dragons, because it then ventures into the genre of
fantasy. The plot creates situations different from those of both the present day
and the known past. Science fiction texts also include a human element, explaining
what effect new discoveries, happenings and scientific developments will have
on us in the future. Science fiction texts are often set in the future, in space, on a
different world, or in a different universe or dimension. Early pioneers of the genre
of science fiction are H. G. Wells (The War of the Worlds) and Jules Verne (20,000
Leagues Under the Sea). Some well-known 20th-century science fiction texts
include 1984 by George Orwell and Brave New World by Aldous Huxley.

Unit 2 • The Challenge of Utopia 109

 ACTIVITY 2.4
Understanding a Society’s
continued Way of Life
Reviewing Vocabulary of Literary Analysis
Literary Terms Theme, or the central message of the story, is revealed through an understanding
An antagonist is the opposite of and the resolution to the conflicts, both internal and external, that the central
of a protagonist and is the character experiences throughout the story.
character who fights against
the hero or main character (the Characterization is the method of developing characters through description (e.g.,
protagonist). appearance, thoughts, feelings), action, and dialogue. The central character or
protagonist is usually pitted against the antagonist, his or her enemy, rival, or
opponent.
Evidence in analysis includes many different things, such as colors, descriptions of
My Notes characters and actions, objects, title, dialogue, etc.

Before Reading
2. The cover art of a novel tries to represent important aspects of the content of
the novel. Study the cover of your novel to make predictions about the story.
Based on your reading about the genre of science fiction, what might you
predict about a science fiction story?
• Setting:

• Characters:

• Plot:

• Theme:

During Reading
3. Use the graphic organizer to note evidence that reveals important information

© 2014 College Board. All rights reserved.

about the protagonist and setting. Then, make inferences based on the
evidence.

Literary Element Evidence (page #) Inferences

Protagonist
__________
(name)

Setting
(description of the
society / the way
of life)

110 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.4
continued

4. In your Reader/Writer Notebook, begin a personal vocabulary list. Identify,

record, and define (in context) at least five new words. Plan to do this for every My Notes
reading assignment.
5. Select and record an interesting quotation—relating to the protagonist or
setting—that you think is important to understanding the conflict or theme.
Then, analyze the idea and form two thoughtful questions for discussion.

Quotation (page #)

Analysis

Questions
Level 1:

Level 2:
© 2014 College Board. All rights reserved.

Check Your Understanding

For the novel you are reading, create a visual display to illustrate the society’s way
of life and the protagonist’s place in this story. You may choose visuals such as
photographs or create drawings.

Unit 2 • The Challenge of Utopia 111

ACTIVITY Contemplating Conflicting
X.X
2.5 Perspectives
Learning Targets
LEARNING STRATEGIES: • Analyze conflicting perspectives of the novel and explain how the author uses
Shared Reading, Close Reading,
this technique to shape readers’ understanding of the story.
Rereading, Questioning the
Text, Note-taking, Discussion • Identify and analyze the importance of specific vocabulary to the story.
Groups
Before Reading
1. Other than the protagonist, who are the most important characters so far in the
story? What do we know about each of these characters? Make a list of these
My Notes characters and provide a brief description of each.

2. Which of these characters usually agree with each other? Which of these
characters tend to disagree?

During Reading
3. Conflict between people or between people and society is a result of conflicting
perspectives. Support this idea by identifying a topic that has created the most
important conflict so far in the story and contrast two different perspectives
about the topic.

Topic:

© 2014 College Board. All rights reserved.

Character 1: Character 2:

Perspective: Perspective:

Textual Evidence (#): Textual Evidence (#):

112 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.5
continued

4. Write questions for discussion based on the information you provided in the
chart. WORD
• Level 1 (literal, factual):
CONNECTIONS
Analogies
The order of words in an
• Level 2 (interpretive): analogy is important. If the
descriptor comes first in one
pair, the descriptor should
5. Which characters are questioning society? How might that tie to theme? come first in the second
pair. The descriptors should
be parallel. Which of these
analogies is parallel?
a. gentle : Fiona :: Asher :
6. Continue to add to your personal vocabulary list in your Reader/Writer playful
Notebook. Identify, record, and define (in context) at least five new words. b. gentle : Fiona :: playful :
Choose one you think is important to understanding the character, setting, or Asher
conflict of the story. Explain why you chose that word. Now complete the following
analogy with appropriate
describing words.
: Jonas ::
: Giver
After Reading
7. In addition to creating differences in characters’ perspectives, authors create
differences between the perspectives of the characters and that of the reader.
Support this idea by identifying a topic and comparing and contrasting a
character’s perspective with your own perspective. This time, include the main My Notes
reason for each perspective and provide evidence for each reason.

Topic:
© 2014 College Board. All rights reserved.

Character’s Perspective: My Perspective:

Main Reason: Main Reason:

Textual Evidence (page #) Textual Evidence (page #)

Unit 2 • The Challenge of Utopia 113

 ACTIVITY 2.5
Contemplating Conflicting
continued Perspectives

GRAMMAR USAGE Language and Writer’s Craft: Choosing Mood

Mood Recall what you learned in the last unit about verbal mood:
Mood is the form of the verb • Indicative Mood: Verbs that indicate a fact or opinion. I am too ill to go to
that shows the mode or school today.
manner in which a thought is • Imperative Mood: Verbs that express a command or request. Go to school.
expressed. Please get up and get dressed.
• Interrogative Mood: Verbs that ask a question. Are you going to school? Do you
feel ill?
• Conditional Mood: Verbs that express something that hasn’t happened or
My Notes something that can happen if a certain condition is met. I would have gone to
school yesterday if I had felt well.
• Subjunctive Mood: Verbs that describe a state that is uncertain or contrary to
fact. When using the verb “to be” in the subjunctive, always use were rather
than was. I wish my cold were better today. If you were to go to school, what
would you learn?

8. Which of the moods described above would be most suitable for a topic
sentence? Identify the mood and then choose the most suitable topic sentence
among the examples below.
• If Harrison and his mother were put in the same room, they would not be able
to communicate.
• Arrest Harrison Bergeron immediately.
• Are Harrison and Hazel Bergeron really so different?
• Harrison and George Bergeron are father and son.
• If Harrison’s father were not handicapped, would he be like his son?

9. Which of the sentences might be a good hook for an introductory paragraph?

© 2014 College Board. All rights reserved.

Check Your Understanding
Expository Writing Prompt: Identify the perspectives of two different
characters and show how the contrast between them highlights a conflict of the
story. Be sure to:
• Create a topic sentence indicating the contrasting perspectives.
• Provide examples from the text and at least one direct quotation to support your
ideas.
• Logically organize your ideas.

114 SpringBoard® English Language Arts Grade 8

 Questioning Society ACTIVITY
2.6

Learning Targets
• Evaluate specific rules and laws in a utopian/dystopian society and compare LEARNING STRATEGIES:
Shared Reading, Marking the
them to present society.
Text, Questioning the Text,
• Contribute analysis and evidence relating to this topic in a Socratic Seminar Socratic Seminar, Fishbowl
discussion.

Before Reading
1. Why do you think people want to ban books? GRAMMAR USAGE
Mood
Notice the strong imperative
(command or request) quality
of the sentence beginning,
During Reading “Imagine . . .” Think how this
2. As you read the article from the American Library Association’s website, mark sentence could have been
the text to indicate information relating to the central idea of the text. changed to an interrogative.

Article My Notes

Banned Books Week:

Celebrating the Freedom to Read
September 30−October 6, 2012
Banned Books Week (BBW) is an annual event celebrating the freedom
to read and the importance of the First Amendment. Held during the
last week of September, Banned Books Week highlights the benefits
of free and open access to information while drawing attention
© 2014 College Board. All rights reserved.

to the harms of censorship by spotlighting actual or attempted

bannings of books across the United States.
Intellectual freedom—the freedom to access information
and express ideas, even if the information and ideas might be considered
unorthodox or unpopular—provides the foundation for Banned Books Week.
BBW stresses the importance of ensuring the availability of unorthodox or unpopular
viewpoints for all who wish to read and access them.
The books featured during Banned Books Week have been targets of attempted
bannings. Fortunately, while some books were banned or restricted, in a majority
of cases the books were not banned, all thanks to the efforts of librarians, teachers,
booksellers, and members of the community to retain the books in the library
collections. Imagine how many more books might be challenged—and possibly banned
or restricted—if librarians, teachers, and booksellers across the country did not use
Banned Books Week each year to teach the importance of our First Amendment
rights and the power of literature, and to draw attention to the danger that exists when
restraints are imposed on the availability of information in a free society.

Unit 2 • The Challenge of Utopia 115

ACTIVITY 2.6
Questioning Society
continued

After Reading
My Notes 3. Create a quickwrite explaining why books are an important part of our society.
Which values do they symbolize? You may use the informational text to guide
your response.

Setting in the Novel

Setting is not simply the time and place in a story. It is also the social
circumstances that create the world in which characters act and make choices.
Readers who are sensitive to this world are better able to understand and
judge the behavior of the characters and the significance of the action. The
social circumstances of a story will often provide insights into the theme of a
literary piece.

Before Reading
4. How does setting connect to character and theme?

During Reading
5. How are books viewed in the society of your novel’s protagonist?

6. Compare and contrast perspectives relating to banned books. How might this

© 2014 College Board. All rights reserved.

connect to the story’s theme?

116 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.6
continued

7. Think about the way of life in this society. Which rules and/or laws do you
completely disagree with? Take notes below to prepare for a collaborative
discussion based on this topic.

State the rule or law Analyze: Evaluate:

(paraphrase or directly Underlying Value State why you disagree with the rule or law, and
quote). then form a thoughtful Level 3 question to spark a
meaningful conversation with your peers.

1. Response:

Level 3 Question:

page(s): ___

2. Response:

Level 3 Question:

page(s): ___

3. Response:

Level 3 Question:
© 2014 College Board. All rights reserved.

page(s): ___

8. Continue to add to your personal vocabulary list. Identify, record, and define (in
context) at least five new words.
ACADEMIC VOCABULARY
A seminar is a term used
to describe a small group
of students engaged in
Introducing the Strategy: Socratic Seminar intensive study. The word
A Socratic Seminar is a type of collaborative discussion designed to explore a Socratic is an adjective
complex question, topic, or text. Participants engage in meaningful dialogue formed from name of the
by asking questions of each other and using textual evidence to support philosopher Socrates,
responses. The goal is for participants to arrive at a deeper understanding who was famous for using
of a concept or idea by the end of the discussion. A Socratic Seminar is not the question-and-answer
a debate. method in his search for
truth and wisdom.

Unit 2 • The Challenge of Utopia 117

ACTIVITY 2.6
Questioning Society
continued

After Reading
My Notes 9. You will next participate in a Socratic Seminar. During the Seminar:
• Challenge yourself to build on others’ ideas by asking questions in response
to a statement or question. To do this effectively, you will have to listen to
comprehend and evaluate.
• Work to transition between ideas to maintain coherence throughout the
discussion.
• Work to achieve a balance between speaking and listening within a group.
Make sure everyone has a chance to speak, and allow quiet time during the
discussion so people have a chance to formulate a thoughtful response.
• Have you heard the expression: “Be a frog, not a hog or a log”? What do you
think that means? Set two specific and attainable goals for the discussion:

Speaking Goal:

Listening Goal:

Oral Discussion sentence starters:

• I agree with your idea relating to . . . , but it is also important to consider . . .
• I disagree with your idea about . . . , and would like to point out . . .
• You made a point about the concept of . . . How are you defining that?
• On page ___, (a specific character) says . . . I agree/disagree with this
because . . .
• On page ___, (a specific character) says . . . This is important because . . .

© 2014 College Board. All rights reserved.

• On page ____, we learn . . . , so would you please explain your last point
about . . . ?
• Add your own:

Introducing the Strategy: Fishbowl

Fishbowl is a speaking and listening strategy that divides a large group into
an inner and an outer circle. Students in the inner circle model appropriate
discussion techniques as they discuss ideas, while students in the outer circle
listen to comprehend ideas and evaluate the discussion process. During a
discussion, students have the opportunity to experience both circles.

10. Engage in the Socratic Seminar.

• When you are in the inner circle, you will need your work relating to rules
and laws, a pen or pencil, and the novel.
• When you are in the outer circle, you will need a pen or pencil and the note-
taking sheet on the next page.

118 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.6
continued

Socratic Seminar Notes My Notes

Topic: Rules and Laws in a Utopian/Dystopian Society

Listening to Comprehend

• Interesting points:
1. ________________:

2. ________________:

3. ________________:

• My thoughts:
1.

2.

3.

Listening to Evaluate

• Speaking:
Strength:

Challenge:

• Listening:
© 2014 College Board. All rights reserved.

Strength:

Challenge:

Reflection

• I did / did not meet my speaking and listening goals.

Explanation:

• I am most proud of:

• Next time I will:

Unit 2 • The Challenge of Utopia 119

ACTIVITY A Shift in Perspective:
2.7 Beginning the Adventure
Learning Targets
LEARNING STRATEGIES: • Analyze and explain how the Hero’s Journey archetype provides a framework for
Summarizing, Close Reading,
understanding the actions of a protagonist.
Marking the Text, Skimming/
Scanning, Rereading, Drafting • Develop coherence by using transitions appropriate to the task.

Before Reading
1. What can you infer about the protagonist in this story? Make an inference
My Notes based on relevant descriptions (e.g., appearance, thoughts, feelings), actions,
and/or dialogue. Support your inference with evidence from the text. Follow
this format:
Topic Sentence: State an important character trait.
• Supporting Detail/Evidence: Provide a transition, lead-in, and specific
example that demonstrates the trait.
• Commentary/Analysis: Explain how the evidence supports the trait.
• Commentary/Analysis: Explain why this character trait is important to
the story.
2. In Unit 1 you studied the Hero’s Journey archetype. What do you remember
about the departure? Provide a brief summary of each of the first three steps
and their importance.
Stage 1: The Departure

Stage and Definition Connection to the story

Step 1: The Call to Adventure

Step 2: Refusal of the Call

© 2014 College Board. All rights reserved.

Step 3: The Beginning of the
Adventure

During Reading
3. The protagonist is considered the hero of the story. Readers most often identify
with his or her perspective. While you read, use sticky notes to mark text
that could reflect the protagonist’s Departure. On each note, comment on the
connection to the archetype.
4. Continue to add to your personal vocabulary list in your Reader/Writer
Notebook. Identify, record, and define (in context) at least five new words.

120 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.7
continued

After Reading
WORD
5. Skim/scan the first half of the story and revisit your sticky notes to determine CONNECTIONS
the beginning of the protagonist’s journey, the Departure. It may be easiest to
start with Step 3, the Beginning of the Adventure. Roots and Affixes
• Remember that the Hero’s Journey is organized sequentially, in chronological Sequential is the adjective
order (although some steps may occur at the same time or not at all). This form of the word sequence,
means that once you connect a step to the story, the next step in the journey which comes from the Latin
must reflect an event that occurs later in the story. root sequi, meaning “to
follow.”
• Because this task is based on interpretation, there is more than one correct
answer. To convince an audience of your interpretation, you must be able to Chronological order means
provide a convincing explanation. “time order,” reflecting the
origin of the word in chronos, a
• Go back to the chart outline above and add connections to the story. Use this Greek word meaning “time.”
information in your response to the Writing Prompt below.

Check Your Understanding

Expository Writing Prompt: Explain the beginning of the protagonist’s My Notes
journey using the first three steps of the Hero’s Journey archetype to guide your
explanation. Be sure to:
• Establish a clear controlling idea.
• Develop ideas with relevant and convincing evidence (include at least one direct
quotation) and analysis.
• Use appropriate and varied transitions to create coherence and clarify the
relationships among ideas (e.g., steps in the Hero’s Journey).
• Use the active rather than the passive voice in your analysis, unless there is a
specific reason to use the passive.
© 2014 College Board. All rights reserved.

Unit 2 • The Challenge of Utopia 121

ACTIVITY Navigating the Road of Trials
2.8

Learning Targets
LEARNING STRATEGIES: • Analyze conflicts revealed through specific passages of dialogue.
Close Reading, Rereading,
Graphic Organizer, Shared • Contribute analysis and evidence in a small group discussion.
Reading, Marking the Text,
Note-taking, Discussion Group Before Reading
1. Review the Initiation stage of the Hero’s Journey. What do you remember about:
Step 4. The Road of Trials

My Notes

Step 5. The Experience with Unconditional Love

2. In the previous activity, you interpreted the protagonist’s Departure. Now begin
your interpretation of the next two steps in the protagonist’s journey: the Road
of Trials and the Experience with Unconditional Love.
• List three significant trials (conflicts)—in chronological order—that occur
after the event you identified as Step 3 of the Hero’s Journey.
• Connect the experience with unconditional love to the trial (if present).
• Analyze how the trial and the experience with unconditional love affect the
protagonist.

Trial: (focus on Experience with Effect: (Actions;

conflicts with other Unconditional Love: Words; Thoughts/
characters and Feelings)
society)

1.

© 2014 College Board. All rights reserved.

2.

3.

122 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.8
continued

3. Who is the antagonist in the story? How would you describe this character?
What does he or she value or believe? My Notes

During Reading
4. Prepare for a small group discussion by continuing to focus on the trials and
unconditional love experienced by the protagonist. Use sticky notes for the
following:
• Mark conflicts reflected in dialogue spoken by other characters, and analyze
how the dialogue affects the protagonist’s perspective of his society,
encouraging him to reject their way of life.

• Mark evidence of unconditional love reflected in dialogue spoken by

other characters, and analyze how the dialogue affects the protagonist’s
perspective on his society, encouraging him to reject their way of life.

5. In your Reader/Writer Notebook, continue to add to your personal vocabulary

list. Identify, record, and define (in context) at least five new words.

After Reading
6. Using the notes you have prepared about important dialogue, engage in a small
group discussion based on the following prompt:

Discussion Prompt: Analyze how specific lines of dialogue provoke the

protagonist to make the decision to reject his or her dystopian society.

Check your Understanding

© 2014 College Board. All rights reserved.

Explain how the trials (conflicts) experienced by the main character in your novel
and the evidence of unconditional love are representative of the Hero’s Journey
archetype.

Unit 2 • The Challenge of Utopia 123

ACTIVITY The End of the Journey
2.9

Learning Targets
LEARNING STRATEGIES: • Analyze the transformational nature of conflicts and the hero’s boon.
Discussion Groups, Shared
Reading, Close Reading, • Contrast the protagonist with another character.
Note-taking, Drafting • Explain the novel’s theme in written responses.

Before Reading
1. Think about the protagonist’s Departure into heroism (Stage 1) and his Road
My Notes of Trials. How has the character changed as a result of these trials or conflicts?
Use the sentence frame below to explain the change, and be sure to provide
evidence to support your interpretation.

In the beginning, the protagonist was _______________, but after

_____________________, he becomes _______________.

2. What do you remember about the Boon in Stage 2, the Initiation of the Hero’s
Journey?

Step 6: The Ultimate Boon:

During Reading
3. How do conflicts with society (including characters who believe in the society’s
way of life) transform the character into a hero? As you read, take notes in the
chart below.

© 2014 College Board. All rights reserved.

Conflict with Heroic Traits Connection to
Society Revealed Through Theme Subjects
Conflict

124 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.9
continued

4. Use your Reader/Writer Notebook to continue adding to your personal

vocabulary list. Identify, record, and define (in context) at least five new words. My Notes

After Reading
5. Interpret the hero’s boon: What did the hero achieve through this journey?

6. Which characteristics helped the hero to achieve the boon? Explain.

Writing Introductory Paragraphs

7. Read and analyze the samples of introductory paragraphs below. Which one
would be used to write an essay structured as compare/contrast? Which would
introduce an essay based on a different expository organizational structure?

Sample 1
People say that kids are a lot like their parents, but in Kurt Vonnegut’s short
story “Harrison Bergeron,” this is definitely not the case. Harrison Bergeron,
the protagonist, and Hazel Bergeron, Harrison’s mother, have close to nothing
in common. Hazel is completely average and therefore content, while her son is
completely superior and therefore rebellious.
Sample 2
A hero must be willing to take risks and have the courage to go against the
norm to help others. “Harrison Bergeron” by Kurt Vonnegut is a story of how society
holds back its most talented members in search of the supposed ideal of equality.
Harrison Bergeron, the protagonist, is a would-be hero who is struck down before
he has the opportunity to begin, much less complete, his hero’s journey.
© 2014 College Board. All rights reserved.

Unit 2 • The Challenge of Utopia 125

ACTIVITY 2.9
The End of the Journey
continued

Check Your Understanding

My Notes Analyze the prompts below. Notice that each prompt requires a different
organizational structure. Choose one of the prompts and write a response.

Expository Writing Prompt 1: Think about the protagonist’s characteristics,

what he achieved, and how he changed by the end of the story. Contrast the
protagonist with another character from his society. Be sure to:
• Introduce the topic clearly, establishing a clear controlling idea.
• Provide examples from the text (including at least one direct quotation) and
analysis to support your ideas.
• Sequence ideas logically using the appropriate compare/contrast structure.
• Choose the appropriate verbal mood for the ideas you want to express.
• Write in active voice unless the passive voice is specifically needed.

Expository Writing Prompt 2: Think about the final stage in the Hero’s Journey:
the Crossing, or Return Threshold. What does the hero learn about life as a result
of the journey (theme)? Be sure to:
• Introduce the topic clearly, establishing a clear controlling idea.
• Provide examples from the text (including at least one direct quotation) and
analysis to support your ideas.
• Sequence ideas logically using the appropriate compare/contrast structure.
• Choose the appropriate verbal mood for the ideas you want to express.
• Write in active voice unless the passive voice is specifically needed.

© 2014 College Board. All rights reserved.

126 SpringBoard® English Language Arts Grade 8

 Writing an Expository Essay EMBEDDED
ASSESSMENT 1

Assignment
Think about how writers organize and develop ideas in expository writing. Use an My Notes
expository organizational structure to communicate your understanding of the
concept of dystopia or the concept of the Hero’s Journey. Select one of the prompts
below:
• Write an essay that compares and contrasts life in the dystopian society of the
novel you read with our modern-day society.
• Write an essay that explains how the protagonist (hero) changes as a result of
conflict with his dystopian society (Road of Trials), and explain how this change
connects to the novel’s theme (the Crossing, or Return Threshold).

Planning and Prewriting: Take time to plan your essay.

• Which prompt do you feel best prepared to respond to with examples from
literature and real life?
• What prewriting strategies (such as free writing or graphic organizers) could
help you brainstorm ideas and organize your examples?

Drafting: Write a multi-paragraph essay that effectively organizes your

ideas.
• How will you introduce the topic clearly and establish a controlling idea
(thesis)?
• How will you develop the topic with well-chosen examples and thoughtful
analysis (commentary)?
• How will you logically sequence the ideas using a an appropriate structure and
transitions?
• How will your conclusion support your ideas?

Evaluating and Revising the Draft: Create opportunities to review and

revise your work.
© 2014 College Board. All rights reserved.

• During the process of writing, when can you pause to share and respond with
others in order to elicit suggestions and ideas for revision?
• How can the Scoring Guide help you evaluate how well your draft meets the
requirements of the assignment?

Checking and Editing for Publication: Confirm your final draft is ready for
publication.
• How will you proofread and edit your draft to demonstrate command of the
conventions of standard English capitalization, punctuation, spelling, grammar
and usage?
• How did you use TLQC (transition/lead-in/quote/citation) to properly embed
quotations?
• How did you ensure use of the appropriate voice and mood in your writing?

Reflection
After completing this Embedded Assessment, think about how you went about
accomplishing this task, and respond to the following:
• How has your understanding of utopia and dystopia developed through the
reading in this unit?

Unit 2 • The Challenge of Utopia 127

EMBEDDED
Writing an Expository Essay
ASSESSMENT 1

SCORING GUIDE
Scoring
Exemplary Proficient Emerging Incomplete
Criteria

Ideas The essay The essay The essay The essay

• maintains a focused • responds to one of • has an unclear or • has no obvious thesis
thesis in response to the prompts with a unrelated thesis • provides minimal
one of the prompts clear thesis • develops ideas supporting details,
• develops ideas • develops ideas unevenly or facts, or evidence
thoroughly with adequately with with inadequate • lacks commentary.
relevant supporting supporting details, supporting details,
details, facts, and facts, and evidence facts, or evidence
evidence • provides sufficient • provides insufficient
• provides insightful commentary to commentary to
commentary and demonstrate demonstrate
deep analysis. understanding. understanding.

Structure The essay The essay The essay The essay

• has an engaging • has a complete • has a weak or partial • lacks an introduction
introduction introduction introduction • has little or
• uses an effective • uses an appropriate • uses an inconsistent no obvious
organizational organizational organizational organizational
structure for a multi- structure for a multi- structure for a multi- structure
paragraph essay paragraph essay paragraph essay • uses few or no
• uses a variety • uses transitional • uses transitional transitional
of transitional strategies to link, strategies strategies
strategies to create compare, and ineffectively or • provides no
cohesion and unity contrast ideas inconsistently conclusion.
among ideas • provides a conclusion • provides a weak or
• provides an insightful that supports the unrelated conclusion.
conclusion. thesis.

© 2014 College Board. All rights reserved.

Use of The essay The essay The essay The essay
Language • conveys a consistent • conveys an academic • uses insufficient • uses limited or vague
academic voice by voice by using some language and language
using a variety of literary terms and vocabulary to convey • lacks quotations
literary terms and precise language an academic voice • lacks command of
precise language • embeds quotations • embeds quotations the conventions of
• embeds quotations correctly incorrectly or standard English
effectively • demonstrates unevenly capitalization,
• demonstrates adequate command • demonstrates partial punctuation, spelling,
command of the of the conventions or inconsistent grammar, and usage;
conventions of of standard English command of the frequent errors
standard English capitalization, conventions of obscure meaning.
capitalization, punctuation, spelling, standard English
punctuation, spelling, grammar, and usage capitalization,
grammar, and usage (including a variety of punctuation, spelling,
(including a variety of syntax). grammar, and usage.
syntax).

128 SpringBoard® English Language Arts Grade 8

 Previewing Embedded Assessment 2 ACTIVITY

and Effective Argumentation 2.10

Learning Targets
• Reflect on learning and make connections to new learning. LEARNING STRATEGIES:
QHT, Close Reading,
• Analyze and identify the skills and knowledge necessary for success in the Paraphrasing, Graphic
Embedded Assessment. Organizer

Making Connections
It can be said that writers of fiction, especially dystopian novels, are trying to make
a point or criticize some aspect of society. In this part of the unit, you will think My Notes
about how you can have an impact on a social issue by creating a well-reasoned
argument about an issue of importance to you.

Essential Questions
1. Reflect on your understanding of the first Essential Question: To what extent
can a perfect society exist?

2. How has your understanding of the concept of utopia changed over the course
of this unit?

3. How would you change your original response to Essential Question 2, What
makes an argument effective?

Developing Vocabulary
4. Re-sort the Academic and Literary Vocabulary using the QHT strategy.
© 2014 College Board. All rights reserved.

Academic Vocabulary Literary Terms

compare/contrast antagonist
dystopia
utopia

5. Return to your original sort at the beginning of the unit. Compare this sort with
your original sort. How has your understanding changed?

6. Select a word from the above chart and write a concise statement about your
learning. How has your understanding changed over the course of this unit?

Unit 2 • The Challenge of Utopia 129

ACTIVITY 2.10
Previewing Embedded Assessment 2
continued and Effective Argumentation
Unpacking Embedded Assessment 2
INDEPENDENT
Closely read the Embedded Assessment 2 assignment.
READING LINK
You may want to continue Write an argumentative essay in which you convince an audience to support
reading novels that present a your claim about a debatable idea. Use your research and experience or
futuristic society. With your observations to support your argument.
class, brainstorm and share
additional titles. Consider Now consult the Scoring Guide and work with your class to paraphrase the
some classic titles by Ray
expectations. Create a graphic organizer to use as a visual reminder of the required
Bradbury such as The Martian
concepts and skills.
Chronicles, or Jules Verne’s
Voyage to the Moon, or After each activity, use this graphic organizer to guide reflection about what
Robert Heinlein’s Stranger in you have learned and what you still need to learn in order to be successful in
a Strange Land, or anything by completing the Embedded Assessment.
Isaac Asimov.
Looking Ahead to Argumentative Writing
7. Based on your current understanding, how are expository and argumentative
writing similar? How are they different?
My Notes
Similarities:

Differences:

© 2014 College Board. All rights reserved.

130 SpringBoard® English Language Arts Grade 8

 Understanding Elements ACTIVITY

of Argumentation 2.11

Learning Targets
• Evaluate a writer’s ideas in an argumentative essay. LEARNING STRATEGIES:
QHT, Marking the Text,
• Identify and apply the six elements of argumentation. Graphic Organizer

Before Reading
1. Quickwrite: Think about the elements of an effective argument. What is the
relationship between logical reasoning and argument? ACADEMIC VOCABULARY
An argument is a logical
appeal, supported by
reasons and evidence, to
persuade an audience to
take an action or agree with
a point of view.

2. In your Reader/Writer Notebook, use the QHT strategy to sort the following key
elements of argumentation: purpose, audience, claim, evidence, reasoning, and
counterclaim. My Notes

During Reading
3. The text below is the first two paragraphs of an 8th-grader’s argumentative
essay. As you read, underline the main claim and then mark the text to indicate
evidence (color 1), reasoning (color 2), and counterclaim(s) (color 3) used to
support the claim.

Private Eyes
© 2014 College Board. All rights reserved.

KEY IDEAS AND DETAILS

What is the writer’s
by Brooke Chorlton (an 8th-grader from Washington State) purpose? How do you
know?
“Private eyes, they’re watching you, they see your every move,” sang the band Hall
and Oates in their 80s hit “Private Eyes.” A popular song three decades ago is quite Who is the writer’s
relevant to life today. We do not live very private lives, mainly due to the Internet, audience?
whose sole purpose is to help people share everything. But there are still boundaries What is the writer’s claim?
to what we have to share. Employers should not require access to the Facebook pages Is it clear to the audience?
of potential or current employees because Facebook is intended to be private, is not
intended to be work-related, and employers do not need this medium to make a good KEY IDEAS AND DETAILS
hiring decision. The first body
paragraph brings up
It is true that the Internet is not private, and it is also true that Facebook was not
a counterargument to
created to keep secrets; it is meant for people to share their life with the selected people
the thesis. Restate this
they choose as their “friends.” However, Facebook still has boundaries or some limits, counterclaim in your own
so that members can choose what to share. As a fourteen-year-old girl I know for a words.
fact, because I have seen it, that when you are setting up your Facebook account, you What evidence and
are able to choose the level of security on your page. Some choose to have no security; reasoning does the writer
use to counter or refute
that claim?

Unit 2 • The Challenge of Utopia 131

ACTIVITY 2.11
Understanding Elements
continued of Argumentation
if someone on Facebook were to search them, they would be able to see all of their
My Notes friends, photos, and posts. And, according to Seattle Times journalists Manuel Valdes
and Shannon McFarland, “It has become common for managers to review publically
available Facebook Profiles.” The key words are “publically available.” The owners of
these profiles have chosen to have no boundaries, so it is not as big a deal if an employer
were to look at a page like this. But others choose to not let the rest of the world in;
if you search them, all that would come up would be their name and profile picture.
That is all: just a name and a picture. Only the few selected to be that person’s friends
are allowed into their online world, while the strangers and stalkers are left out in
the cold. It is not likely that you would walk up to a stranger and share what you did
that weekend. Orin Kerr, a George Washington University law professor and former
federal prosecutor, states that requiring someone’s password to their profile is, “akin to
requiring [their] house keys.” If we expect privacy in our real world life, shouldn’t we be
able to have privacy in our online life as well?

After Reading
5. Based on the thesis, what is the next point the writer will make about the right
of employers to ask for access to Facebook?

6. Notice that the writer ends the paragraph with an interrogative sentence. Why is
this an effective mood to use as a transition to the next major idea of the essay?

© 2014 College Board. All rights reserved.

Beginning to Construct an Argument
7. Think of a technology-related topic that has two sides that can be argued.
Decide which side of the issue you want to argue. Brainstorm possible topics
and claims.
Topics:

Claims:

132 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.11
continued

Check Your Understanding

To convince or persuade someone to your point of view, you must structure an
argument with certain elements in mind. Completing the graphic organizer below
will help you structure a convincing argument.
Choose one of the topics you brainstormed and complete the response portion of
the graphic organizer.

Element Definition / Explanation Response

Purpose the specific reason(s) for writing or speaking;
the goal the writer or speaker wishes to
achieve

Audience the specific person or group of people the

writer is trying to convince (the opposition);
one must consider the audience’s values and
beliefs before writing the argument

Claim an assertion of something as true, real, or

factual

Evidence knowledge or data on which to base belief;

used to prove truth or falsehood; evidence
may include:
• testimony from experts and authorities
• research-based facts and statistics
• analogies (comparisons to similar
situations)
© 2014 College Board. All rights reserved.

• references to history, religious texts, and

classic literature

Reasoning logical conclusions, judgments, or inferences

based on evidence

Counterclaim a claim based on knowledge of the other side

(Concession / of a controversial issue; used to demonstrate
Refutation) understanding of the audience, expertise in
the subject, and credibility (ethos)
a writer or speaker briefly recognizes and then
argues against opposing viewpoints

Unit 2 • The Challenge of Utopia 133

ACTIVITY Don’t Hate—Debate!
2.12

Learning Targets
LEARNING STRATEGIES: • Identify and analyze persuasive appeals.
Visualizing, KWHL, Debate,
Brainstorming, Note-taking, • Orally present reasoning and evidence to support a debatable claim.
Graphic Organizer • Identify and evaluate arguments as logos, pathos or/and ethos.

Before Reading
1. Persuasive appeals are an important part of creating a convincing argument.
My Notes Read the definitions below to understand how writers or speakers use each
type of appeal.

Appeal Meaning

Logos an appeal to reason; providing logical reasoning and evidence in

the form of description, narration, and/or exposition

Pathos an appeal to emotions; using descriptive, connotative, and

figurative language for effect; providing an emotional anecdote;
developing tone

Ethos an appeal based on trust or character; demonstrating that you

understand the audience’s point of view; making the audience
believe that you are knowledgeable and trustworthy; showing
that you have researched your topic by supporting reasons with
appropriate, logical evidence and reasoning

2. Create a visual of each type of appeal to help you remember its definition.

Introducing the Strategy: Debate

© 2014 College Board. All rights reserved.

A debate is an informal or formal argumentation of an issue. Its purpose is to
ACADEMIC VOCABULARY provide an opportunity to collect and orally present evidence supporting the
A debate is an informal or affirmative and negative arguments of a proposition or issue. During a debate,
formal discussion in which participants follow a specific order of events and often have a time limit for
opposing arguments are put making their points.
forward. A debate usually focuses
on a debatable or controversial
issue. Preparing to Debate
A debate provides an opportunity to practice creating a reasoned argument and
to identify and use appeals when trying to convince others of your point of view.
You will engage in an informal debate on a debatable topic arising from the
article below.

3. Read and respond to the following news article, first by circling any words you
don’t know that you think are important, and next by deciding whether you are
for or against the legislation.

134 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.12
continued

Article
My Notes

Representative Urges
Action on the Media
In order to combat what he calls the dangerous increases in teens’ harmful media
habits, Representative Mark Jenkins has recently introduced legislation that would
make it a crime for anyone under the age of 18 to engage with more than two hours of
media a day on the weekdays and three hours a day on the weekends. The bill defines
“media” as television, radio, commercial magazines, non-school related Internet
and any blogs or podcasts with advertising. Penalties for violation can range from
forfeiture of driver’s licenses and media counseling to fines for parents or removal of
media tools (TVs, computers, phones, etc.). Monitoring systems will be set up in each
Congressional district through the offices of Homeland Security and the National
Security Agency. Rep. Jenkins could not be reached for comment because he was
appearing on television.
4. Read the debate prompt (always posed as an interrogative sentence).

Debate: Should the government restrict media usage for anyone under the age
of 18 to two hours a day on weekdays and three hours a day on weekends?

5. Brainstorm valid reasons for both sides of the issue. Focus on logos (logical)
appeals, though you may use other appeals to develop your argument. During
the debate, you will use these notes to argue your side.

YES, the government should restrict media NO, the government should not restrict media
usage because: usage because:
© 2014 College Board. All rights reserved.

Reason 1: Evidence: Reason 1: Evidence:

Reason 2: Evidence: Reason 2: Evidence:

Unit 2 • The Challenge of Utopia 135

ACTIVITY 2.12
Don’t Hate—Debate!
continued

6. When it is your turn to speak, engage in the debate. Be able to argue either
My Notes claim. Keep in mind the elements of argument and the different types of
appeals. Be sure to use appropriate eye contact, volume, and a clear voice when
speaking in a debate.

Sentence Starters:
• I agree with your point about . . . , but it is also important to consider . . .
• I disagree with your point about . . . , and would like to counter with the idea
that . . .
• You made a good point about . . . , but have you considered . . .
• Your point about . . . is an appeal to emotions and so is not a logical reason/
explanation.

7. When it is your turn to listen, evaluate others’ arguments for their use of logical
appeals. Record notes in the chart below as you identify examples of effective
and ineffective logos, and provide a brief explanation for each example.

Effective Use of Logos Other Appeals

Check Your Understanding

© 2014 College Board. All rights reserved.

Reflect on your experience by responding to the following questions:
• What types of persuasive appeals were most effective in supporting the topic
during the debate? Why?
• Was any appeal to logos, or logic, convincing enough to make you change your
mind about the issue? Explain.
• What makes an effective debate? How can the debate strategy help a writer
form an effective argument?

136 SpringBoard® English Language Arts Grade 8

 Highlighting Logos ACTIVITY
2.13

Learning Targets
• Identify and evaluate logical reasoning and relevant evidence in an argument. LEARNING STRATEGIES:
Marking the Text, Close
• Understand the relationship between logic and fallacy. Reading, Rereading

Before Reading
1. Do you recognize the messages below? What are they?
My Notes
Ya that’s cool lol no worries

Hey man I had to run out for like

an hour

Sounds good my man, seeya

soon, ill tw

During Reading
2. As you read the following article, think about how pathos, logos, and ethos
combine to support a debatable claim. When does the the claim appear?

Online Article
Parents Share Son’s Fatal Text Message
to Warn Against Texting & Driving
© 2014 College Board. All rights reserved.

DENVER (AP) – Alexander Heit’s final text cut off in mid-sentence. Before he could KEY IDEAS AND DETAILS
send it, police say the 22-year-old University of Northern Colorado student drifted into Identify what kind of appeal
oncoming traffic, jerked the steering wheel and went off the road, rolling his car. begins this article and then
explain why it is effective.
Heit died shortly after the April 3 crash, but his parents and police are hoping the
photo of the mundane text on his iPhone will serve as a stark reminder to drivers.
The photo, published Wednesday in The Greeley Tribune, shows Heit was responding
to a friend by typing “Sounds good my man, seeya soon, ill tw” before he crashed.
Witnesses told police that Heit appeared to have his head down when he began
drifting into the oncoming lane in the outskirts of Greeley, where the University of
Northern Colorado is located. According to police, an oncoming driver slowed and
moved over just before Heit looked up and jerked the steering wheel.
Police say Heit, a Colorado native who loved hiking and snowboarding, had a
spotless driving record and wasn’t speeding.
In a statement released through police, Heit’s mother said she doesn’t want anyone
else to lose someone to texting while driving.
“In a split second you could ruin your future, injure or kill others, and tear a hole in
the heart of everyone who loves you,” Sharon Heit said.
Source: CBS News, © 2013 The Associated Press

Unit 2 • The Challenge of Utopia 137

ACTIVITY 2.13
Highlighting Logos
continued

After Reading
My Notes 3. What evidence is use to convince others that texting and driving is dangerous?
Is this evidence logical, relevant, and convincing?

4. Now that you have examined and identified the use of the three “appeals” used
to convince an audience, explain why logos is the most important appeal to be
able to use skillfully.

5. Notice how the different appeals overlap in an argument.

What Is Sound Reasoning?

Sound reasoning stems from a valid argument whose conclusion follows from
its premises. A premise is a statement upon which an argument is based or from
which a conclusion is drawn. In other words, a premise is an assumption that
something is true.
For example, consider this argument:
Premise: A implies B;
Premise: B implies C;
Conclusion: Therefore, A implies C.

Although we do not know what statements A, B, and C represent, we are still able
to judge the argument as valid. We call an argument “sound” if the argument is
valid and all the statements, including the conclusion, are true.
This structure of two premises and one conclusion forms the basic argumentative
structure. Aristotle held that any logical argument could be reduced to two

© 2014 College Board. All rights reserved.

premises and a conclusion.

Premises: If Socrates is a man, and all men are mortal,

Conclusion: then Socrates is mortal.

A logical fallacy is an error in reasoning that makes an argument invalid or

unsound. Common fallacies include:
• claiming too much
• oversimplifying a complex issue
GRAMMAR USAGE • supporting an argument with abstract generalizations
Conditional Statements • false assumptions
Statements of premises and • incorrect premises
conclusions, also known as
syllogisms, are always formed
Example: We need to pass a law that stupid people cannot get a driver’s license.
as conditional statements
that are finished with a
(Incorrectly equates driving skills with intelligence)
conclusion.

138 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.13
continued

Avoid logical fallacies by being sure you present relevant evidence and logical and
sound reasoning—the cornerstones of effective argumentation. My Notes
6. Examine this statement of the premises and conclusion of the argument of the
article you just read. Is it valid and sound? Explain why or why not.

Premises: If texting is distracting, and distracted driving can result in

an accident,
Conclusion: then texting can result in an accident.

During Reading
7. You will next read another article about distracted drivers. Evaluate whether the
argument of this article is supported by sound reasoning. As you read, underline
the claim, and then mark the text to indicate the logical reasoning used to
support the claim.

Online Article
The Science Behind

Distracted Driving
from KUTV, Austin

Texting while driving can be deadly, but what is it that makes it so dangerous?
No longer are people simply talking on their cellphones, they’re multi-tasking—
GRAMMAR USAGE
Interrogatives
© 2014 College Board. All rights reserved.

checking email, updating social media and texting.

Note the question that
“Particularly texting, that seems to be a really hazardous activity, much more begins this article.
dangerous than talking on a cellphone, rising to a level that exceeds what we see with Interrogatives are often
someone who’s driving drunk,” David Strayer says. He has been studying distracted used as hooks to engage
driving for 15 years. and guide the reader
Strayer says we’re becoming a nation of distracted drivers. He says that when you at the beginning of an
take your eyes off the road, hands off the steering wheel, and your mind off driving, it’s informational article.
a deadly mix. “That combination of the three: the visual, the manual, and the cognitive
distraction significantly increase the crash risk,” says Strayer.
With two sophisticated driving simulators, an instrumented vehicle, an eye tracker, KEY IDEAS AND DETAILS
and a way to measure brain activity, Strayer and his team at the University of Utah have How are paraphrasing and
quoting used and combined
been able to pinpoint what’s happening when a person texts while driving. He says,
in paragraph 4?
“They’re not looking at the road. They’re not staying in their lane. They’re missing traffic
lights,” creating a crash risk that is eight times greater than someone giving the road
their undivided attention. “That’s a really significant crash risk. It’s one of the reasons
many states have enacted laws to outlaw texting.”
Thirty-nine-states have banned texting while driving.

Unit 2 • The Challenge of Utopia 139

ACTIVITY 2.13
Highlighting Logos
continued

KEY IDEAS AND DETAILS Strayer’s work has been featured at National Distracted Driving summits, used
This article makes the same by states to enact no-texting while driving laws, he’s even testified in criminal court
point about the “crash risk” of proceedings—often meeting the families of those killed in distracted driving crashes.
distracted driving three times.
Highlight how it is repeated in
three slightly different ways.

After Reading
8. Effective arguments use quotes and paraphrased evidence from
sources to support claims. For example: David Strayer, who has been
studying distracted driving for 15 years, calls texting “hazardous”
and “more dangerous than . . . driving drunk.” Write a quote and/or
paraphrase evidence from the article above.

Check Your Understanding

Wrting Prompt: Choose one quote from each of the articles you have
just read to support the claim: Texting while driving is distracting and
increases the risk of crashes. Use the TLQC format, as you learned in
Unit 1, to state the importance of the evidence. Be sure to write in the
active voice and use ellipses where necessary to show that you have
left out parts of a quote.

My Notes © 2014 College Board. All rights reserved.

140 SpringBoard® English Language Arts Grade 8

 Forming and Supporting a ACTIVITY

Debatable Claim 2.14

Learning Targets
• Identify the difference between a debatable and a non-debatable claim. LEARNING STRATEGIES:
Summarizing, Brainstorming,
• Develop an argument to support a debatable claim. Outlining, Free Writing,
Marking the Draft
Debatable and Non-Debatable Claims
You have already brainstormed topics and possible claims. It may seem obvious,
but it is important to be sure your topic and claim are debatable.
• If a claim is debatable, it is controversial; that is, two logical people might
ACADEMIC VOCABULARY
A controversy occurs when
disagree based on evidence and reasoning used to support the claim. Example:
there are two sides that
Using a cell phone while driving puts you and other drivers in danger.
disagree with each other.
• If a claim is non-debatable, it is a fact and therefore it cannot be argued. A controversial topic is a
Example: Cell phones are a popular form of modern communication. This could topic that can be debated.
be an expository topic, but is not suitable for argument.

1. Summarize the difference between a debatable and a non-debatable claim.

My Notes

2. Write one debatable and one non-debatable claim below relating to each topic
below.
Topic: the amount of time teens spend using technology
• Debatable:

• Non-debatable:

Topic: the age at which someone should have a social media account
• Debatable:
© 2014 College Board. All rights reserved.

• Non-debatable:

Unit 2 • The Challenge of Utopia 141

ACTIVITY 2.14
Forming and Supporting a
continued Debatable Claim
Forming and Supporting a Debatable Claim
My Notes 3. Use the following steps to form and support a debatable claim for the topic you
chose in Activity 2.11.
Step 1: Write a debatable claim for each side of an issue relating to the topic.

Texting

Side 1 Side 2
Claim: Claim:

Step 2: Highlight the claim you will support.

Step 3: Freewrite: How can you support the claim you chose? How much logical
reasoning can you use? Will you depend on pathos? How can you support your
claim with evidence and sound reasoning?

Step 4: Identify and analyze your audience. Who would support the other side?
Be specific! Consider the kind of information, language, and overall approach
that will appeal to your audience. Ask yourself the following questions:
• What does the audience know about this topic (through personal experience,
research, etc.)?
• What does the audience value related to this topic?
• How might the audience disagree with me? What objections will the audience
want me to address or answer?
• How can I best use logos to appeal to and convince this audience?
• How will I use language to show I am worth listening to on this subject?

© 2014 College Board. All rights reserved.

Step 5: Now that you better understand your audience, plan to address at least
two counterclaims by identifying potential weaknesses of your argument within
opposing reasons, facts, or testimony. Use this format:

My audience might argue , so I will counter by arguing or pointing

out that .

Check Your Understanding

Why is it necessary to identify your audience as precisely and accurately as
possible?

142 SpringBoard® English Language Arts Grade 8

 Conducting Effective Research ACTIVITY
2.15

Learning Targets
• Form effective questions to focus research. LEARNING STRATEGIES:
Skimming/Scanning, Close
• Identify appropriate sources that can be used to support an argument. Reading, Marking the Text,
Note-taking
Using the Research Process
Once you have chosen your topic, created a claim, and considered possible
counterclaims, you are ready to conduct additional research on your topic to find
evidence to support your claim and refute counterclaims. ACADEMIC VOCABULARY
Research (v.) is the process
1. What are the steps of the research process? Are the steps logical? Why?
of locating information from
a variety of sources.
Research (n.) is the
information found from
investigation sources.

Writing Research Questions My Notes

2. What makes an effective research question?

3. How will gathering evidence affect my research questions?

4. What is an example of an effective research question?

Locating and Evaluating Sources

© 2014 College Board. All rights reserved.

Many people rely on the Internet for their research, since it is convenient and
it can be efficient. To find relevant information on the Internet, you need to use ACADEMIC VOCABULARY
Search terms are the words
effective search terms to begin your research. Try to choose terms that narrow your
or phrases entered into an
results. For example, searching on the term “driving accidents” will return broad
online search engine to find
information, whereas searching on the term “distracted driving” will return results
information related to the
more closely in line with that topic. words or phrases.
The Internet has lots of useful information, but it also has much information
that is not reliable or credible. You must carefully examine the web sites that
offer information, since the Internet is plagued with unreliable information from
unknown sources. Faulty information and unreliable sources undermine the validity
of one’s argument.

Unit 2 • The Challenge of Utopia 143

ACTIVITY 2.15
Conducting Effective Research
continued

5. What do you know about the following criteria that define reliable internet
My Notes sites? Fill in the chart with your current knowledge.

Criteria for Evaluating Websites

Accuracy

Validity

Authority

Currency

Coverage

6. What types of websites are reliable and trustworthy? Why?

7. Now it is time to find additional evidence from a variety of outside sources to

strengthen your argument. First, form two or three research questions that will

© 2014 College Board. All rights reserved.

help you to support your claim:

144 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.15
continued

8. Which types of sources are best for the information you seek? List at least three
and explain your choices. My Notes

9. What search terms will you use to narrow your search for sources with relevant
information on the topic and claim?

Researching and Reading Informational Texts

Much research information is taken from informational texts, which can be
challenging to read. An effective strategy for reading these texts is to pay attention
to their text features.
There are five broad categories of text features found in informational texts:
• Text organization identifies text divisions (e.g., chapters, sections,
introductions, summaries, and author information).
• Headings help readers understand the information (e.g., titles, labels, and
subheadings).
• Graphics show information visually to add or clarify information (e.g., diagrams,
charts and tables, graphs, maps, photographs, illustrations, paintings,
timelines, and captions).
• Format and font size signal to the reader that certain words are important (e.g.,
boldface, italics, or a change in font).
• Layout includes aids such as insets, bullets, and numbers that point readers to
important information.

Before Reading
10. You will next read an article on how the brain works when doing two or more
tasks at the same time. Scan the article to look for key words, phrases, or
© 2014 College Board. All rights reserved.

specific details in the text.

• Identify and highlight the text features.
• Examine the web address, the information about the authors, and the images
and caption. What conclusions can you draw about the article’s validity and
authority, based on these text features?
• Based on the text features, predict what the article will argue about cell
phone use.

During Reading
11. Identify the claim (located in the first paragraph), and underline information you
think would be logical evidence to support the claim.

Unit 2 • The Challenge of Utopia 145

ACTIVITY 2.15
Conducting Effective Research
continued

Article
My Notes

How the Brain Reacts

http://roomfordebate.blogs.nytimes.com/2009/07/18/should-cellphone-use-by-drivers-be-illegal/

Marcel Just is the D.O. Hebb Professor of Psychology and director of the Center
for Cognitive Brain Imaging at Carnegie Mellon University.
Tim Keller is a senior research psychologist at the center. They are co-authors
of the study, “A Decrease in Brain Activation Associated with Driving When
Listening to Someone Speak.”

Behavioral studies have shown that talking on a cellphone diverts the driver’s
attention and disrupts driving performance. We investigated that question by looking
at brain activity that occurs during driving. In our study, using functional magnetic
resonance imaging (fMRI), we examined the effect of listening to someone speak on the
brain activity associated with simulated driving.

© 2014 College Board. All rights reserved.

Brain activity associated with spatial processing when driving without
distraction (left) and when driving while listening to sentences (right).
KEY IDEAS AND DETAILS
How do these authors make Center for Cognitive Brain Imaging, Carnegie Mellon University
sure you understand the
scientific nature of their Participants steered a vehicle along a curving virtual road, either undisturbed
findings? or while listening to spoken sentences that they judged as true or false. The parietal
lobe activation associated with spatial processing in driving decreased by 37 percent
when participants concurrently listened to the sentences. We found that listening
comprehension tasks drew mental resources away from driving and produced a
deterioration in driving performance, even though the drivers weren’t holding or
dialing a phone.

146 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.15
continued

These brain activation findings show the biological basis for the deterioration in
driving performance (in terms of errors and staying in a lane) that occurs when one is My Notes
also processing language. They suggest that under mentally demanding circumstances,
it may be dangerous to combine processing of spoken language with a task like driving
a car in demanding circumstances.
Our listening experiment did not require the participants to speak, so it was
probably less disruptive to driving than an actual two-way conversation might be. It’s
likely that our study actually underestimates the reduction in driving performance.
If listening to sentences degrades driving performance, then probably a number
of other common driver activities—including tuning or listening to a radio, eating and
drinking, monitoring children or pets, or even conversing with a passenger—would also
cause reduced driving performance.
It would be incorrect, however, to conclude that using a cellphone while driving is
no worse than engaging in one of these other activities. First, it’s not known how much
these other distractions affect driving (though that would be an interesting study).
KEY IDEAS AND DETAILS
Second, talking on a cellphone is a particular social interaction, with demands In this article, what is the
different from a conversation with a passenger. Not responding in a cellphone counterclaim to the idea
conversation, for instance, can be interpreted as rude behavior. that using cellphones
leads to distracted
By contrast, a passenger in a car is more likely to be aware of the competing driving? Notice that the
demands for a driver’s attention. Indeed there is recent experimental evidence counterclaim is being
suggesting that passengers and drivers suppress conversation in response to driving presented as a conditional
demands. statement.
Third, with spoken language, a listener cannot willfully stop the processing of a
spoken utterance. These considerations suggest that talking on cellphones while driving KEY IDEAS AND DETAILS
can be a risky choice, not just for common sense reasons, but because of the way our Explain the relationship
brains work. between the transitions
“First,” “Second,” and
“Third,” and the point the
writers are making.
© 2014 College Board. All rights reserved.

After Reading
12. Choose two pieces of relevant and convincing information that support the
authors’ claim. Quote as much of the original material as is necessary.
Examples:
• “We found that listening comprehension tasks drew mental resources away
from driving and produced a deterioration in driving performance.”
• “The parietal lobe activation associated with spatial processing in driving
decreased by 37 percent when participants concurrently listened to the
sentences.”

Unit 2 • The Challenge of Utopia 147

ACTIVITY 2.15
Conducting Effective Research
continued

Check Your Understanding

My Notes Writing Prompt: Using the examples from question 12, write a paragraph for
an argumentative essay in support of the claim. Paraphrase the first piece of
information. For the second piece of information, smoothly combine quoting and
paraphrasing. Then add your own commentary to explain the quote. Be sure to:
• Carefully paraphase the quote to avoid changing its meaning.
• Choose a relevant quote that fully supports the claim and smoothly incorporate
it into your paragraph, citing the author or the article.
• Write insightful commentary that adds your own interpretation and meaning to
the evidence and how it supports the claim.

© 2014 College Board. All rights reserved.

148 SpringBoard® English Language Arts Grade 8

 Gathering and Citing Evidence ACTIVITY
2.16

Learning Targets
• Create annotated bibliography entries and show how to use this information to LEARNING STRATEGIES:
Predicting, Graphic
strengthen an argument.
Organizer, Summarizing,
• Refine research questions to guide the research process. Paraphrasing, Note-
taking, Marking the Text,
Conducting Research Questioning the Text
You have begun to conduct research on a topic and claim of your choice, creating
research questions, using effective search terms, and finding appropriate sources
from which you can take information to use as evidence.
My Notes
Citing Sources and Creating a Bibliography
When using information from research in your writing, you should cite the source
of the information. In addition to giving credit in your essay, you may also be
asked to provide a Works Cited page or an Annotated Bibliography to document
your research and strengthen your ethos. A Works Cited page includes a properly
formatted citation for each source you use. An Annotated Bibliography includes
both the full citation of the source and a summary of information in the source or
commentary on the source.

Citation Formats
Works Cited Entry:
Burke, Kenneth. Language as Symbolic Action: Essays on Life, Literature, and
Method. Berkeley: U of California P, 1966. Print.

In-text Citation:
Human beings have been described as “symbol-using animals” (Burke 3).

1. To practice note-taking and generating a bibliography entry, complete the

research card below using information from “How the Brain Reacts.”
© 2014 College Board. All rights reserved.

Source Citation:

How can this source help you to support your argument?

What makes this source credible?

Unit 2 • The Challenge of Utopia 149

ACTIVITY 2.16
Gathering and Citing Evidence
continued

Before Reading
GRAMMAR USAGE 2. Look at the title of the article that follows, the web address, and the information
Passive Voice about who wrote the article. Based on these text features, do you think this
Note how the passive voice is article is a reliable source of information on this topic?
used in the second sentence
of the first paragraph. Why is
it used in this case?
During Reading
3. In this article, you will see a more balanced approach to the topic of driving and
cell phone use. Note where the writer brings up conflicting information about
the topic.

My Notes

Article

Cellphones and driving:

As dangerous
as we think?
Despite calls for cellphone bans, there’s no
conclusive data on handheld devices and safe driving
March 26, 2012 | By Matthew Walberg, Chicago Tribune reporter

1 A bill pending in Springfield would ban all drivers in Illinois from using handheld
cellphones in Illinois. An ordinance being considered in Evanston would go further
and prohibit motorists in that town from talking on cellphones of any kind—including
hands-free.

© 2014 College Board. All rights reserved.

2 It’s a matter of safety, proponents of both measures say.
KEY IDEAS AND DETAILS
3 But two decades of research done in the U.S. and abroad have not yielded
Summarize the purpose of
conclusive data about the impact cellphones have on driving safety, it appears. Nor
the first 7 paragraphs of this
informational article. is there a consensus1 that hands-free devices make for safer driving than handheld
cellphones.
4 In theory, the effect of cellphones on driver performance should be relatively
easy to determine: Compare crash data against phone records of drivers involved
in accidents. But phone records are not easily obtained in the United States, forcing
researchers in this country to find less direct ways to analyze the danger of cellphone
distraction. The issue is further clouded because auto accidents overall have been
decreasing, even as cellphones become more common.
5 “The expectation would be that as cellphone use has skyrocketed we would see a
correlation in the number of accidents, but that hasn’t happened,” said Jonathan Adkins,
spokesman for the Governors Highway Safety Association.

1 consensus: agreement

150 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.16
continued

6 Adkins said the association believes that states should simply enforce their current KEY IDEAS AND DETAILS
cellphone laws, if any, and wait for further research to better understand exactly how This article has information
much of a role cellphone use plays in automobile accidents. that could be used for
either side of the argument
7 “We know it’s distracting, we know it increases the likelihood of a crash,” Adkins
about cellphones and
said. “It just hasn’t shown up in data in a lot of cases—in other words, it’s hard to prove driving. Highlight evidence
that a crash was caused because someone was on their cellphone.” for both sides.
8 Proponents of cellphone restrictions—whether total bans or prohibition of
handheld phones—can cite some studies to back up their positions.
9 A 2005 study published in the British Medical Journal looked at crash data for
GRAMMAR USAGE
456 cellphone subscribers in Perth, Australia, who had an auto accident that required
medical attention. The study, which essentially confirmed a similar 1997 study Find the sentence in
conducted in Toronto, concluded that drivers talking on their phones were about four paragraph 13 that uses the
times more likely to be involved in an accident than those who were not on the phone. passive voice. Why does the
author use the passive here
10 Another highly publicized 2006 study from the University of Utah concluded that rather than the active voice?
drivers who talked on cellphones were as impaired as drivers who were intoxicated at
the legal blood-alcohol limit of 0.08. The study, however, found that using hands-free
devices did little to improve drivers’ performances.
11 There is some evidence suggesting state and local bans have caused some drivers to
My Notes
talk less while on the road.
12 This month, California’s Office of Traffic Safety released the results of a study
showing a sharp decrease in the number of accidents caused by cellphone use that
resulted in death or injury.
13 Researchers tracked the number of accident reports that listed cellphone use as a
factor during the two-year periods before and after the 2008 passage of a statewide ban
on handheld devices. The study concluded that while overall traffic fatalities of all kinds
dropped by 22 percent, fatalities caused by drivers who were talking on a handheld
phone at the time of the crash dropped nearly 50 percent. Similar declines were found
for drivers using hands-free devices.
14 The study followed the agency’s 2011 survey of more than 1,800 drivers that found
© 2014 College Board. All rights reserved.

that only about 10 percent of drivers reported that they regularly talked on the phone
while driving—down from 14 percent from the previous year’s survey. In addition, the
survey saw increases in the number of people who said they rarely or never use their
cellphone behind the wheel.
15 Those surveyed, however, overwhelmingly believed that hands-free devices made
cellphone use safer, a perception that runs counter to research showing such tools do
little to reduce the distraction.
16 “If there is an advantage, it’s only because a person may have two hands on the
wheel, but most people drive with one hand all the time anyway,” said Chris Cochran,
spokesman for the Office of Traffic Safety. “In reality, it’s the conversation, not the phone
itself.”
Source: http://articles.chicagotribune.com/2012-03-26/news/ct-met-cell-
phone-safety-studies-20120326_1_handheld-cellphones-cellphone-restrictions-
cellphone-subscribers

Unit 2 • The Challenge of Utopia 151

ACTIVITY 2.16
Gathering and Citing Evidence
continued

After Reading
My Notes 4. Choose two pieces of relevant and convincing information from the article. Then
prepare the information to be included in an argumentative essay. Paraphrase
the first piece of information. Combine quoting and paraphrasing in the second
piece of information, and add your own commentary to it.

Paraphrase:

Quote and paraphrase:

Check Your Understanding

Writing Prompt: Based on the research and the evidence you have gathered from
reading the two sources, write a paragraph that states a claim about cell phone use
while driving. Incorporate paraphrased and/or quoted information that supports
your claim. Be sure to:
• State your claim.
• Incorporate evidence by paraphrasing and/or quoting.
• Show your reasoning with commentary.

© 2014 College Board. All rights reserved.

152 SpringBoard® English Language Arts Grade 8

 Organizing and Revising Your Argument ACTIVITY
2.17

Learning Targets
• Use research to support a claim(s) and frame an argument. LEARNING STRATEGIES:
Writer’s Checklist, Discussion
• Share and respond to preliminary drafts in a discussion group. Groups, Oral Reading,
• Use new information to revise an argument to reflect Scoring Guide Criteria. Sharing and Responding,
Self-Editing/Peer Editing
Monitor Progress by Creating and Following a Plan
You have gone through a model of the research process and conducted research
on your own topic for the argumentative essay you will write for the Embedded
Assessment. My Notes

Now you will focus on completing your research and finding evidence for your
argument. You will also work on organizing and communicating your argument.
1. First, look at the chart below. Where are you in the process of researching for
your essay? Check off the steps you have already completed, but remember
that you can go back to revise your claim or find additional support for your
argument, if necessary. In the third column, add planning notes for completing
each step of the process.

Research Plan for My Argumentative Essay

Check Progress Step of Research Process Notes

Identify the issue or problem; establish a

claim.

Form a set of questions that can be answered

through research.

Locate and evaluate sources. Gather

evidence for claims and counterclaims.
© 2014 College Board. All rights reserved.

Interpret evidence.

Communicate findings.

2. Reflect on your research. Which questions have you answered? What do you
still need to know? What new questions do you have? You should keep research
notes on a computer, on note cards, or in a log such as the one that follows.

Unit 2 • The Challenge of Utopia 153

ACTIVITY 2.17
Organizing and Revising Your Argument
continued

Argumentative Essay Research Log

My Notes
Topic/Issue:

My claim:

Research Questions:

Works Consulted
Notes/Examples/Quotes
Source + Citation

Sample citation for a

website: Just, Marcel, and
Tim Heller. ”How the Brain
Reacts.” Room for Debate
Blogs. The New York
Times, 18 July 2009. Web.
1 Feb. 2012.

© 2014 College Board. All rights reserved.

Outlining an Essay
3. A clear organizational structure is essential to a successul essay. Fill in the
blank spaces in the following outline with your claim and the reasons and
evidence you will use to support it.
I. Introduction
A. Attention-getting hook

B. Background information/definition of terms

C. Claim (Thesis):

154 SpringBoard® English Language Arts Grade 8

 ACTIVITY 2.17
continued

II. Body paragraphs

A. Reason 1: My Notes

Evidence:

B. Reason 2:

Evidence:

C. Reason 3:

Evidence:

III. Conclusion follows from and supports the argument

A. Restate claim
B. Connect back to hook
C. State specific call to action

Sharing and Responding in Writing Groups

4. Prepare for discussion by doing the following:
© 2014 College Board. All rights reserved.

• Revisit your outline and think about its organization.

• Think about your research notes and decide where the information fits in your
argument.
• At the top of your draft, make a list of vocabulary and transitions you might
use while discussing your ideas.
• Determine whether you should revise your claim to reflect the new
information.
• Listen to comprehend and evaluate as others read their claims.

5. Gather the materials you will need in the discussion group: the draft outline of
your argument, your research cards, and a pen or pencil.

6. Set speaking and listening goals for the discussion:

Speaking: I will

Listening: I will

Unit 2 • The Challenge of Utopia 155

ACTIVITY 2.17
Organizing and Revising Your Argument
continued

7. When you write your essay for Embedded Assessment 2, use the Writer’s
Checklist below to get feedback from others in your writing group and to self-
edit before finalizing your essay draft. Also, use the Language and Writer’s Craft
suggestions as you consider revising your essay for effective use of language.

Writer’s Checklist
Use this checklist to guide the sharing and responding in your writing group.

IDEAS
The writer has a clear claim (thesis).
The writer supports his or her claim with logical reasoning and relevant evidence from accurate, credible sources.
The writer effectively uses appeals to logos and pathos.
The writer addresses counterclaims effectively.

ORGANIZATION
The writer clearly introduces the claim at the beginning of the argument.
The writer organizes reasons and evidence logically.
The writer effectively uses transitional words, phrases, and clauses to create cohesion and clarify the
relationships among ideas.
The writer provides a concluding statement or section that follows from and supports the argument presented.

USE OF LANGUAGE
The writer effectively and correctly embeds quotations and paraphrases clearly to strengthen evidence and
create convincing reasoning.
The writer uses a formal style, including proper referencing to sources to express ideas and add interest.
The writer uses precise and clear language in the argument rather than vague or imprecise vocabulary.

© 2014 College Board. All rights reserved.

Language and Writer’s Craft: Shifts in Voice and Mood
As you write and revise, recognize and correct inappropriate shifts in voice
and mood.
Use verbs in active or passive voice and in the conditional and subjunctive mood
to achieve particular effects (e.g., emphasizing the actor or the action, expressing
uncertainty or a state contrary to fact).

Check Your Understanding

Summarize the process for researching and presenting an argumentative essay.
Include the steps in the research process and descriptions of the elements of
an argument.

156 SpringBoard® English Language Arts Grade 8

 Writing an Argumentative Essay EMBEDDED
ASSESSMENT 2

Assignment
Write an argumentative essay in which you convince an audience to support your
claim about a debatable idea. Use your research and experience or observations to
support your argument.
My Notes
Planning and Prewriting: Take time to make a plan for generating ideas
and research questions.
• What prewriting strategies (such as outlining or webbing) can you use to select
and explore a controversial idea?
• How will you draft a claim that states your position?
• What questions will guide your research?

Researching: Gather information from a variety of credible sources.

• What types of sources are best for the information you seek?
• What criteria will you use to evaluate sources?
• How will you take notes to gather and interpret evidence?
• How will you create a bibliography or Works Cited page?

Drafting: Convince your audience to support your claim.

• How will you select the best reasons and evidence from your research to
support your claim?
• How will you use persuasive appeals (logos, ethos, pathos) in your essay?
• How will you introduce and respond to counterclaims?
• How will you organize your essay logically with an introduction, transitions, and
concluding statement?

Evaluating and Revising the Draft: Create opportunities to review and

© 2014 College Board. All rights reserved.

revise your work.

• During the process of writing, when can you pause to share and respond with
others in order to elicit suggestions and ideas for revision?
• How can the Scoring Guide help you evaluate how well your draft meets the
requirements of the assignment?

Checking and Editing for Publication: Confirm your final draft is ready for
publication.
• How will you proofread and edit your draft to demonstrate command of the
conventions of standard English capitalization, punctuation, spelling, grammar
and usage, and formal style?
• How did you use TLQC (transition/lead in/quote/citation) to properly embed
quotations?
Technology TIP:
Reflection
Consider publishing your
After completing this Embedded Assessment, think about how you went about essay on a website, blog,
accomplishing this task, and respond to the following: or online student literary
• How can you use discussion and/or debate in the future to explore a topic? magazine.

Unit 2 • The Challenge of Utopia 157

EMBEDDED
ASSESSMENT 2
Writing an Argumentative Essay

SCORING GUIDE
Scoring
Exemplary Proficient Emerging Incomplete
Criteria
Ideas The essay The essay The essay The essay
• supports a claim with • supports a claim with • has an unclear or • has no claim or claim
compelling, relevant sufficient reasoning unfocused claim lacks support
reasoning and and evidence and/or inadequate • provides little or no
evidence • provides evidence of support evidence of research
• provides extensive the research process • provides insufficient • does not reference a
evidence of the • addresses evidence of the counterclaim
research process counterclaim(s) research process • fails to use
• addresses • uses some • addresses persuasive appeals.
counterclaim(s) persuasive appeals counterclaims
effectively (logos, ethos, ineffectively
• uses a variety of pathos). • uses inadequate
persuasive appeals. persuasive appeals.

Structure The essay The essay The essay The essay

• has an introduction • has an introduction • has a weak • lacks an introduction
that engages the that includes a hook introduction • has little or
reader and defines and background • uses an ineffective no obvious
the claim’s context • follows an adequate or inconsistent organizational
• follows a logical organizational organizational structure
organizational structure strategy • uses few or no
structure • uses transitional • uses basic or transitional
• uses a variety of strategies to link insufficient strategies
effective transitional ideas transitional • lacks a conclusion.
strategies • has a conclusion that strategies
• contains an insightful supports and follows • has an illogical or
conclusion. from the argument. unrelated conclusion.

© 2014 College Board. All rights reserved.

Use of The essay The essay The essay The essay
Language • uses precise diction • uses diction and • uses basic or weak • uses confusing or
and language language to convey diction and language vague diction and
effectively to convey tone and persuade an • demonstrates language
tone and persuade an audience partial command • lacks command of
• demonstrates of the conventions the conventions of
audience
adequate command of standard English standard English
• demonstrates
of the conventions capitalization, capitalization,
command of the of standard English punctuation, spelling, punctuation, spelling,
conventions of capitalization, grammar, and usage; grammar, and usage
standard English punctuation, spelling, for the most part, • does not include
capitalization, grammar, and usage errors do not impede an annotated
punctuation, spelling, • includes a generally meaning bibliography.
grammar, and usage correct and • includes an incorrect
• includes an accurate, complete annotated or insufficient
detailed annotated bibliography. annotated
bibliography. bibliography.

158 SpringBoard® English Language Arts Grade 8

 UNIT

The Challenge to
Make a Difference
Visual Prompt: What do you notice about this art? How does the artist use visual techniques for
effect? How do you think the arts (artwork, music, literature, etc.) can help change the world?

Unit Overview
The world has dark pages in its history,
© 2014 College Board. All rights reserved.

and at times the challenge of righting such

immeasurable wrongs seems impossible.
Reading narratives about the Holocaust will
reveal the worst in human behavior, but it will
also show how individuals can find light in
the darkness. In this unit, you will present the
voices of fictional or real people who fought
the darkness of the Holocaust by helping,
hoping, or persevering. You will also apply the
lessons of the past to start making a difference
today by raising awareness and encouraging
people to take action about a significant
national or global issue.

Unit 3 • The Challenge to Make a Difference 159

UNIT The Challenge to Make a Difference
3

GOALS: Contents
• To engage effectively in
Activities
a range of collaborative
discussions. 3.1 Previewing the Unit ..................................................................162
• To analyze the development
of a theme or central idea of 3.2 Collaborating to Preview Holocaust Narratives ........................163
a text.
3.3 Understanding Literature Circle Discussions............................167
• To research an issue
of national or global 3.4 Making Thematic Connections .................................................171
significance. Memoir: Excerpt from Night, by Elie Wiesel
• To create an informative Poetry: “First They Came for the Communists,”
and persuasive multimedia
presentation. by Martin Niemöller
• To strengthen writing 3.5 Analyzing an Allegory...............................................................175
through the effective use of *Children’s Book: Terrible Things: An Allegory of the Holocaust,
voice and mood.
by Eve Bunting
3.6 Dangerous Diction ....................................................................178
ACADEMIC VOCABULARY 3.7 Exploring the Museum ............................................................ 180
communication
résumé 3.8 Presenting Voices .................................................................... 183
euphemism
slogan 3.9 Finding Light in Film ................................................................ 186
media
media channels
*Film: Life Is Beautiful, directed by Roberto Benigni
target audience 3.10 Dramatic Tone Shifts ............................................................... 189
evaluate
Drama: Excerpt from The Diary of Anne Frank,
by Frances Goodrich and Albert Hackett
3.11 The Wrong Side of the Fence ................................................... 194

© 2014 College Board. All rights reserved.

Literary Terms Fiction: Excerpt from The Boy in the Striped Pajamas, by
enunciation John Boyne
found poem
call to action 3.12 Creating a Memorable Opening ............................................... 200
Diary: Excerpt from The Diary of a Young Girl, by Anne Frank
Embedded Assessment 1: Presenting Voices of the Holocaust ....... 203
3.13 Previewing Embedded Assessment 2 and
Looking at Multimedia ............................................................ 205
3.14 Making a Difference .................................................................207
3.15 Never Forget, Never Again ....................................................... 209
Speech: from Elie Wiesel’s Nobel Peace Prize Acceptance Speech
Introducing the Strategy: SOAPSTone

160 SpringBoard® English Language Arts Grade 8

 Language and Writer’s
3.16 Students Taking Action ............................................................213 Craft
Informational Text: from Do Something! A Handbook for Young • Using Voice and Mood for
Effect (3.8)
Activists
• Reviewing Participial
3.17 From Vision to Action................................................................217 Phrases (3.14)
• Reviewing Clauses (3.15)
Informational Text: “Wangari Maathai,” from BBC News
Informational Text: About Freerice.com
3.18 Examining Media Campaigns ...................................................221
Informational Text: Public Service Announcements
Informational Text: Free Rice Online Quiz Game
*Public Service Announcements (Non-print, available online)
3.19 Raising Awareness .................................................................. 224
Article: “Famine as a Weapon: It’s Time to Stop Starvation in
Sudan,” by George Clooney and John Prendergast
Embedded Assessment 2: Presenting a Multimedia Campaign ....... 227

*Texts not included in these materials.

© 2014 College Board. All rights reserved.

Unit 3 • The Challenge to Make a Difference 161

ACTIVITY Previewing the Unit
3.1

Learning Targets
LEARNING STRATEGIES: • Preview the big ideas and the vocabulary for the unit.
Think-Pair-Share, QHT, Close
Reading, Marking the Text, • Identify the skills and knowledge necessary to be successful in completing
Paraphrasing, Graphic the Embedded Assessement.
Organizer
Making Connections
In the first part of this unit, you will read texts about the Holocaust that show both
the tragedy of historical events and the ways in which people reacted to those
My Notes events. This study will help prepare you to research current issues from around
the world and choose one for which to create a persuasive multimedia campaign.

Essential Questions
The following Essential Questions will be the focus of the unit study. Respond to
both questions.
1. Why is it important to learn about the Holocaust?

2. How can one person make a difference?

Developing Vocabulary
3. Use a QHT chart to sort the Academic Vocabulary and Literary Terms in
the Contents.

© 2014 College Board. All rights reserved.

Unpacking Embedded Assessment 1
Read the assignment for Embedded Assessment 1:
Present a panel discussion that includes an oral reading of a significant passage
from the narrative read by your group. Your discussion should explain how
the theme or central idea of “finding light in the darkness” is developed in the
INDEPENDENT entire narrative.
READING LINK
You will be reading a narrative
After you closely read the Embedded Assessment 1 assignment and use the
related to events preceding
Scoring Guide to further analyze the requirements, work with your class to
and during World War II and
the genocide of a people based
paraphrase the expectations. Create a graphic organizer to use as a visual
on their religion. You may want reminder of the required concepts and skills.
to read a novel or a nonfiction
narrative from the additional
titles mentioned in this unit.
As you read, look for the
thematic focus of this unit:
“finding light in the darkness.”

162 SpringBoard® English Language Arts Grade 8

 Collaborating to Preview ACTIVITY

Holocaust Narratives 3.2

Learning Targets
• Demonstrate effective communication in collaborative discussions. LEARNING STRATEGIES:
Note-taking, Graphic
• Participate in a Literature Circle group. Organizer, Previewing,
Predicting, Summarizing,
Preparing for Listening and Speaking Discussion Groups
1. As a student, you have probably spent years observing teachers and other
students who demonstrate both effective and ineffective speaking and listening
skills. To help you identify good speaking and listening skills, create two T
charts in your Reader/Writer Notebook, one for Listening and one for Speaking. ACADEMIC VOCABULARY
Brainstorm effective and ineffective listening and speaking habits and practices. Communication is a process
of exchanging information
Add to your chart during the class discussion.
between individuals. It can
2. Read the following information to learn more about effective communication include both verbal (words)
in collaborative groups. All members of a group need to communicate effectively and nonverbal (expressions,
to help the group work smoothly to achieve its goals. Group members should gestures) language.
allow opportunities for everyone to participate. To help ensure a successful
group experience, follow these guidelines.

As a speaker: My Notes
• Come prepared to the discussion, having read or researched the material
being studied.
• Organize your thoughts before speaking.
• Ask questions to clarify and to connect to others’ ideas.
• Respond to others’ questions and comments with relevant evidence,
observations, and ideas.
• Use appropriate eye contact, adequate volume, and clear pronunciation.

As a listener:
• Listen to comprehend, analyze, and evaluate others’ ideas.
• Avoid barriers to listening such as daydreaming, fidgeting, or having side
© 2014 College Board. All rights reserved.

conversations.
• Take notes to prepare a thoughtful response.

3. On the following page are quotations about the topic of light and darkness.
Take turns reading aloud, interpreting, and discussing the meaning and
figurative language used in each quotation. Follow the guidelines for effective
communication.

Unit 3 • The Challenge to Make a Difference 163

ACTIVITY 3.2
Collaborating to Preview
continued Holocaust Narratives

Quotation Interpretation

A. “We’ve all got both light and darkness inside us.

What matters is the part we choose to act on.
That’s who we really are.” —J.K. Rowling

B. “Darkness cannot drive out darkness; only light

can do that. Hate cannot drive out hate; only love
can do that.”—Martin Luther
King, Jr.

C. “It is better to light a candle than curse the

darkness.”—Eleanor Roosevelt

D. “Sometimes our light goes out, but is blown into

flame by another human being. Each of us owes
deepest thanks to those who have rekindled the
light.”—Albert Schweitzer

E. “Maybe it’s the very presence of one thing—light

or darkness—that necessitates the existence
of the other. Think about it, people couldn’t
become legendary heroes if they hadn’t first done
something to combat darkness. Doctors could
do no good if there weren’t diseases for them to
treat.”—Jessica Shirvington

4. Reflect on your group’s discussion of the quotes. Identify challenges and set

© 2014 College Board. All rights reserved.

specific goals for improving your speaking, listening, and reading skills.

Challenges Goals

Speaking

Listening

Reading

164 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.2
continued

5. For this activity, you will be reading and discussing Holocaust narratives. In your
discussion group, choose a different Holocaust narrative for each group member WORD
to preview. CONNECTIONS
Roots and Affixes
6. Form a new group with other students who are previewing the same Holocaust The word holocaust comes
narrative. Use the graphic organizer below to prepare a book preview. from the Greek words holos,
meaning “whole” or “entire,”
and caustos, meaning “burn.”
Title: Author: The root -hol- is also found
in holistic and hologram. The
Genre: Length: root caus- or caut- occurs in
caustic and cauterize.
Predictions based on significant imagery from the book cover design:

My Notes
Summary of the information provided in the book description or review:

Information about the author:

Personal response after reading a passage:

© 2014 College Board. All rights reserved.

This book sounds . . .

This book reminds me of . . .

Someone who would like this book . . .

7. Go back to your original discussion group and take turns presenting your book
previews. Use the chart on the next page to take notes on each book as you
hear it described. If needed, continue on a new page in your Reader/Writer WORD
Notebook. CONNECTIONS
Analogies
Write an analogy to describe
yourself and a member of your
group. Think of a descriptor
that illustrates personality
or character. For example,
thoughtful : Madeline ::
energetic : Timothy.

Unit 3 • The Challenge to Make a Difference 165

ACTIVITY 3.2
Collaborating to Preview
continued Holocaust Narratives

Book Preview Notetaking Graphic Organizer

An Interesting Point
Book Title My Thoughts / Comments/ Questions
Made About the Book

8. Record your top three choices and explain the reasons for your selection.

9. Once you have formed your Literature Circle group, formulate a plan for reading
your Holocaust narrative.

Reading Schedule
Title of Book: _________________________________________________________
Author: _______________________________________

© 2014 College Board. All rights reserved.

Total Number of Pages: _________

Date Date Due Pages to Read Role Number of Journal Entries

Assigned

166 SpringBoard® English Language Arts Grade 8

 Understanding Literature ACTIVITY

Circle Discussions 3.3

Learning Targets
• Analyze Literature Circle role descriptions and communicate an understanding LEARNING STRATEGIES:
Diffusing, Literature Circles,
of the qualifications for one role by creating a resume.
Questioning the Text,
• Prepare for and participate in a text-based collaborative discussion. Summarizing, Note-taking,
Discussion Groups
Understanding Literature Circle Roles
Read the following information about Literature Circle roles. For each role, think
about the skills required and consider your personal strengths.
My Notes
Discussion Leader
Your job is to develop a list of questions you think your group should discuss about
the assigned section of the book. Use your knowledge of Levels of Questions to
create thought-provoking interpretive (Level 2) and universal (Level 3) questions
that connect to understanding the content and themes of the book. Try to create
questions that encourage your group to consider many ideas. Help your group
to explore these important ideas and share their reactions. You are in charge of
facilitating the day’s discussion.

Diction Detective
Your job is to carefully examine the diction (word choice) in the assigned section.
Search for words, phrases, and passages that are especially descriptive, powerful,
funny, thought-provoking, surprising, or even confusing. List the words or phrases
and explain why you selected them. Then, analyze the intended effect, asking and
answering questions such as the following: What is the author trying to say? How
does the diction help the author achieve his or her purpose? What tone do the
words indicate?

Bridge Builder
Your job is to build bridges between the events of the book and other people,
places, or events in school, the community, or your own life. Look for connections
© 2014 College Board. All rights reserved.

between the text, yourself, other texts, and the world. Also, make connections
between what has happened before and what might happen as the narrative
continues. Look for the character’s internal and external conflicts and the ways that
these conflicts influence his or her actions.

Reporter
Your job is to identify and report on the key points of the reading assignment.
Make a list or write a summary that describes how the setting, plot, and characters
are developed in this section of the book. Consider how characters interact, major
events that occur, and shifts in the setting or the mood that seem significant. Share
your report at the beginning of the group meeting to help your group focus on the
key ideas presented in the reading. Like that of a newspaper reporter, your report
must be concise, yet thorough.

Unit 3 • The Challenge to Make a Difference 167

 ACTIVITY 3.3
Understanding Literature
continued Circle Discussions

ACADEMIC VOCABULARY
Artist
A résumé is a brief written Your job is to create an illustration to clarify information, communicate an
account of personal, educational, important idea (e.g., about setting, character, conflict, or theme), and/or to add
and professional qualifications interest to the discussion. It can be a sketch, cartoon, diagram, flow chart, or a
and experience, prepared by an piece that uses visual techniques for effect. Show your illustration to the group
applicant for a job. without any explanation. Ask each group member to respond, either by making a
comment or asking a question. After everyone has responded, explain your picture
and answer any questions that have not been answered.

My Notes Assigning Literature Circle Roles

1. Create a résumé using the template below to apply for a role.

Name:

Role (Job Description): Choose one of the roles and summarize the
requirements.

Skills: Describe the skills you have that will help you perform this role (e.g.,
reading, artistic skills, etc.).

Experience: Describe similar experiences you have had and how they will help
you in this role.

Activities: Describe any class work or extracurricular activities that have

prepared you for the role.

2. Use your résumés to distribute role assignments in your group. Record these
assignments on your reading schedule.

© 2014 College Board. All rights reserved.

3. Create a table tent for your role by folding an index card or construction paper.
On the side facing your group, write the role title and a symbolic image. On
the side facing you, write a description of your role and bullet points listing
the requirements. Be specific so that the next person who has this role will
understand what to do.

Before Reading
4. What do you know about the Holocaust? How did you learn it?

168 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.3
continued

5. How old do you think someone should be when they first learn about the
Holocaust? Why would someone write a children’s book about such a My Notes
disturbing subject?

6. Why do we continue to study the Holocaust in school?

During Reading
7. Create a double-entry journal in your Reader/Writer Notebook, keeping your
Literature Circle role in mind. For example, the discussion leader may want to
record passages that inspire questions, while the artist might record
interesting imagery.

8. Use the notes from your double-entry journal to prepare for your role. When
everyone in the group is ready, practice conducting a Literature Circle meeting.
As you listen, take notes on interesting ideas presented by group members, and
form questions in response.

Discussion Note-taking Graphic Organizer

An Interesting Point Made by a Member My Thoughts / Comments / Questions

of My Group
© 2014 College Board. All rights reserved.

Unit 3 • The Challenge to Make a Difference 169

ACTIVITY 3.3
Understanding Literature
continued Circle Discussions
After Reading
My Notes 9. Reflect on your discussion. Review your responses on the graphic organizer.
• What contributed most to your understanding or appreciation of the text?
• What did you learn about the Holocaust through the narrative and
discussion?

Check Your Understanding

Using the information from your Literature Circle discussion, create an analytical
statement about the theme of the narrative you read. Provide textual evidence to
support your analytical statement.

Theme:

Evidence:

© 2014 College Board. All rights reserved.

170 SpringBoard® English Language Arts Grade 8

 Making Thematic Connections ACTIVITY
3.4

Learning Target
• Analyze an excerpt from an autobiographical narrative and a poem and explain LEARNING STRATEGIES:
Choral Reading, Rereading,
the thematic connection between the texts.
Close Reading, Questioning
the Text, Visualizing, Marking
Before Reading the Text, Discussion Groups
1. Quickwrite: Review what you know about personal narratives and
autobiographies. How can they be important in helping later generations
understand historical events? Use the My Notes space.

During Reading My Notes

2. As you read the next two texts, mark unfamiliar words, phrases, and ideas.
Annotate each text by responding to the Key Ideas and Details and mark a word,
phrase, or line that stands out to you the most in each text.

ABOUT THE AUTHOR

Elie Wiesel (1928–) was a teenager in 1944, when he and his whole family
were taken from their home to the Auschwitz concentration camp and then
to Buchenwald. Wiesel wrote his internationally acclaimed memoir Night
about his experiences in the camps. In addition to writing many other books,
Wiesel became an activist speaking out about injustices in many countries
around the world. He was awarded the Nobel Peace Prize in 1986.

Memoir

Night
from
© 2014 College Board. All rights reserved.

by Elie Wiesel

1 AND THEN, one day all foreign Jews were expelled from Sighet.1 And Moishe the KEY IDEAS AND DETAILS
Beadle2 was a foreigner. Who are the people
represented by the
2 Crammed into cattle cars by the Hungarian police, they cried silently. Standing on
pronouns “they” and “we”
the station platform, we too were crying. The train disappeared over the horizon; all
in paragraph 2? What is the
that was left was thick, dirty smoke.
intended effect?
3 Behind me, someone said, sighing, “What do you expect? That’s war …”

4 The deportees3 were quickly forgotten. A few days after they left, it was rumored
that they were in Galicia4, working, and even that they were content with their fate.

1 Sighet: a town in Romania

2 Beadle: a minor church official; a caretaker of a synagogue
3 deportees: people forced to leave their homes by an authority
4 Galicia: a former province of Austria, now in parts of Poland and Ukraine

Unit 3 • The Challenge to Make a Difference 171

 ACTIVITY 3.4
Making Thematic Connections
continued

5 Days went by. Then weeks and months. Life was normal again. A calm, reassuring
wind blew through our homes. The shopkeepers were doing good business, the students
KEY IDEAS AND DETAILS lived among their books, and the children played in the streets.
What is the intended effect 6 One day, as I was about to enter the synagogue, I saw Moishe the Beadle sitting on
of the following line from a bench near the entrance.
paragraph 7: “Infants were
tossed in the air and used as 7 He told me what had happened to him and his companions. The train with the
targets for the machine guns”? deportees had crossed the Hungarian border and, once in Polish territory, had been
taken over by the Gestapo.5 The train had stopped. The Jews were ordered to get off and
KEY IDEAS AND DETAILS onto waiting trucks. The trucks headed toward a forest. There everybody was ordered to
Why did the Jews of Sighet get out. They were forced to dig huge trenches. When they had finished their work, the
refuse “to believe his tales, men from the Gestapo began theirs. Without passion or haste, they shot their prisoners,
and refused to listen”? who were forced to approach the trench one by one and offer their necks. Infants
were tossed in the air and used as targets for the machine guns. This took place in the
KEY IDEAS AND DETAILS Galician forest, near Kolomay. How had he, Moishe the Beadle, been able to escape? By
What are the two main events a miracle. He was wounded in the leg and left for dead …
of this narrative? What is 8 Day after day, night after night, he went from one Jewish house to the next, telling
Wiesel’s purpose in focusing his story and that of Malka, the young girl who lay dying for three days, and that of
on these two events? Tobie, the tailor who begged to die before his sons were killed.
9 Moishe was not the same. The joy in his eyes was gone. He no longer sang. He no
longer mentioned either God or Kabbalah. He spoke only of what he had seen. But
people not only refused to believe his tales, they refused to listen. Some even insinuated
GRAMMAR USAGE that he only wanted their pity, that he was imagining things. Others flatly said that he
Participle Verb Forms had gone mad.
The participle forms of verbs 10 As for Moishe, he wept and pleaded:
can be used as adjectives.
There are two participial 11 “Jews, listen to me! That’s all I ask of you. No money. No pity. Just listen to me!” he kept
forms: present (ending in shouting in the synagogue, between the prayer at dusk and the evening prayer.
-ing) and past (usually ending
12 Even I did not believe him. I often sat with him, after services, and listening to his
in -d). Note the use of these
participles as adjectives:
tales, trying to understand his grief. But all I felt was pity.
13 “They think I’m mad,” he whispered, and tears, like drops of wax, flowed from

© 2014 College Board. All rights reserved.

“. . . reassuring wind . . .”
(paragraph 5) his eyes.
“. . . waiting trucks . . .” 14 Once, I asked him the question: “Why do you want people to believe you so much?
(paragraph 7) In your place I would not care whether they believed me or not …”
A participle may occur in a 15 He closed his eyes, as if to escape time.
participial phrase, which
includes the participle 16 “You don’t understand,” he said in despair. “You cannot understand. I was saved
plus any complements and miraculously. I succeeded in coming back. Where did I get my strength? I wanted to
modifiers. The whole phrase return to Sighet to describe to you my death so you might ready yourselves while there
serves as an adjective. For is still time. Life? I no longer care to live. I am alone. But I wanted to come back to warn
example: you. Only no one is listening to me …”
“Crammed into cattle cars by 17 This was toward the end of 1942.
the Hungarian police, they . . .”
(paragraph 2) 18 Thereafter life seemed normal once again. London radio, which we listened to
every evening, announced encouraging news: the daily bombings of Germany and
An introductory participial Stalingrad, the preparation of the Second Front. And so we, the Jews of Sighet, waited
phrase must modify the noun for better days that surely were soon to come.
or pronoun that follows it.
In the example above, the
phrase modifies “they.”

5 Gestapo: the secret police in Nazi Germany

172 SpringBoard English Language Arts Grade 8
®
 ACTIVITY 3.4
continued

ABOUT THE AUTHOR

WORD
Martin Niemöller (1892–1984) was a German Protestant pastor. During CONNECTIONS
World War II, he opposed Hitler’s religious policies and was sent to
concentration camps. He survived and, after the war, joined the World
Roots and Affixes
Peace Movement. This poem is his response to the question “How could The Latin root -commun- in
it happen?” communist means “common.”
In communism, land and
factories are owned by the
community. This root occurs in
communal, communicate, and
Poetry communion.
The word democrat contains

First They Came the Greek root demo-, which

means “people,” and the
for the Communists Greek suffix -crat, which
means “rule.” Democracy is a
by Martin Niemöller government run by the people.
The root demo- appears in
demographic and epidemic.
When the Nazis came for the communists, The suffix -crat occurs in words
I remained silent; like aristocrat, autocrat, and
I was not a communist. bureaucrat.

When they locked up the social democrats,

5 I remained silent;
My Notes
I was not a social democrat.

When they came for the trade unionists,

I did not speak out;
I was not a trade unionist.
© 2014 College Board. All rights reserved.

10 When they came for the Jews,

I did not speak out; KEY IDEAS AND DETAILS
How does each stanza
I was not a Jew. contribute to a developing
sense of doom?
When they came for me,
there was no one left to speak out.

After Reading
3. Work collaboratively to apply each of the different Literature Circle roles to the
autobiographical narrative and the poem. Use the Key Ideas and Details, as well
as questions you develop during your discussion, to compare and analyze
these texts.
4. How is the autobiographical narrative’s theme similar to and different from the
poem’s theme?

Unit 3 • The Challenge to Make a Difference 173

ACTIVITY 3.4
Making Thematic Connections
continued

5. Use the graphic organizer that follows as a reminder of the roles and to guide
My Notes your thinking for your Literature Circle discussion of both texts.

Artist: Choose one

image. Visualize and
sketch it.

Diction Detective: Reporter: Write a

Analyze how brief summary of
the author uses the text. What is it
descriptive and about? What is the
figurative imagery theme or central
for effect. idea?

Central
text

Discussion Leader: Bridge Builder: Make a text-to-

Use Levels of Questions self, text-to-text, and text-to-
to create three discussion world connection.
questions: • Text to Self

© 2014 College Board. All rights reserved.

Literal • Text to Text
Interpretive • Text to World

Universal

Check Your Understanding

What did you learn about the Holocaust through these texts? Which text is more
powerful? Explain.

174 SpringBoard® English Language Arts Grade 8

 Analyzing an Allegory ACTIVITY
3.5

Learning Targets
• Present a dramatic interpretation of a passage from the text. LEARNING STRATEGIES:
Oral Interpretation, Think-
• Analyze how the themes in multiple genres are connected. Pair-Share, Graphic
Organizer
Before Reading
An allegory often uses symbols to represent abstract concepts, and it may use
animals to represent humans. “O Captain, My Captain” was your first introduction
to allegory. My Notes
1. Review the definition. With your class, brainstorm a list of more familiar
allegories.

2. Why would authors choose to use an allegory to tell a story?

During Reading
3. As you listen to a dramatic reading of Eve Bunting’s Terrible Things: An Allegory
of the Holocaust, take notes on the animals’ reactions to the Terrible Things.
Use the graphic organizer on the next page for your notes.

4. Think about why a children’s story of the Holocaust is best told as an allegory.
© 2014 College Board. All rights reserved.

Unit 3 • The Challenge to Make a Difference 175

ACTIVITY 3.5
Analyzing an Allegory
continued

How do the other animals respond to How do the other animals respond after the
the demand of the Terrible Things? Terrible Things have taken the animals?

When the Terrible Things come for “ . . . every creature with feathers on its back . . . ”

Frogs, squirrels, porcupines, rabbits, fish: Porcupine, squirrels:

Little Rabbit:

Big Rabbit:

When the Terrible Things come for “ . . . every bushy-tailed creature . . . ”

Frogs, porcupines, fish, rabbits: Little Rabbit:

Big Rabbit:

© 2014 College Board. All rights reserved.

When the Terrible Things come for “ . . . every creature that swims . . . ”

Rabbits, porcupines: Little Rabbit:

Big Rabbit:

176 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.5
continued

How do the other animals respond to the demand How do the other animals respond after the
of the Terrible Things? Terrible Things have taken the animals?

When the Terrible Things come for “ . . . every creature that sprouts quills . . . ”

Rabbits: Little Rabbit:

Big Rabbit:

When the Terrible Things come for “ . . . any creature that is white . . . ”

Little Rabbit:

After Reading
5. After listening and taking notes, meet with your Literature Circle groups and, My Notes
using your notes and insights, discuss how this text connects to the previous
two texts you have read. Discuss the three different genres presented and why
they are effective and appropriate for the topic, audience, and purpose.
© 2014 College Board. All rights reserved.

6. Work collaboratively to plan and perform a dramatic interpretation of your

assigned passage. Mark the text for pauses, emphasis, volume, and tone to
convey important ideas and to add interest.

7. Rehearse your interpretation, and then present to the other group that shares
your passage.

8. Reflect on your group’s dramatic interpretation. What did your group do well?
What will you do differently next time?

Check Your Understanding

Expository Writing Prompt: How is the theme of this story similar to the theme
of Wiesel’s excerpt and the Neimöller poem? Be sure to:
• Begin with a topic sentence that responds to the prompt.
• Provide textual evidence and commentary for support.
• Use precise diction to inform or explain.

Unit 3 • The Challenge to Make a Difference 177

ACTIVITY Dangerous Diction
3.6

Learning Target
LEARNING STRATEGIES: • Understand Holocaust-related diction and explain new learning about the
Graphic Organizer, Discussion
Holocaust using new vocabulary words.
Groups

The Nazis deliberately used euphemisms to disguise the true nature of their
crimes. Euphemisms replace disturbing words using diction with more positive
connotations.
ACADEMIC VOCABULARY
A euphemism is an inoffensive 1. Work with a small group to analyze how the Nazis manipulated language to
expression that is a substitute for disguise the horror of their policies. Research the term euphemism and its use
one that is considered too harsh in Nazi Germany. If doing an online search, use an effective search term to find
or blunt. the true meanings of the terms below.

Euphemism Denotation (Literal Meaning in Context of Analyze the Difference

Definition) the Holocaust in Connotation

Relocation

Disinfecting or Delousing
Centers

Camp

The Final Solution

© 2014 College Board. All rights reserved.

2. To discuss the Holocaust, you will need to be familiar with Holocaust-related
WORD diction. In your Literature Circle groups, use a dictionary or other resource to
CONNECTIONS find a definition or explanation for each of the terms in the list on the next page.
Roots and Affixes
Euphemism contains the Greek
prefix eu-, meaning “well”
or “pleasing,” and the Greek
root -pheme-, which has the
meaning of “speak.” A person
who uses a euphemism speaks
with pleasing words.

178 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.6
continued

Holocaust Vocabulary Definition/Explanation

Antisemitism

Concentration Camp

Death Camp

Genocide

Gestapo

Holocaust

Nazi

Persecution

Propaganda

SS (Schutzstaffel)
© 2014 College Board. All rights reserved.

Star of David

Check Your Understanding WORD

Use at least six new words to explain what you have learned about the Holocaust. CONNECTIONS
Read your explanation to a partner to practice fluency. Roots and Affixes
As you discover more vocabulary and euphemisms in your Holocaust narrative, Genocide comes from the
copy them down to share, define, and discuss with your class. Greek word genos, which
means “race” or “line of
descent.” The root -gen-
occurs in such words as gene,
genesis, and genus.
The suffix -cide forms nouns
with the meaning of “kill”
or “causing death,” as in
homicide and pesticide.

Unit 3 • The Challenge to Make a Difference 179

ACTIVITY Exploring the Museum
3.7

Learning Targets
LEARNING STRATEGIES: • Summarize information from a Holocaust website and contribute events to a
Oral Reading, Note-taking,
historical timeline.
Discussion Groups, Graphic
Organizer, Summarizing • Create talking points and deliver an effective collaborative presentation.

Researching the Holocaust

1. Setting (time and place) is important in any story, but why is it especially
My Notes important in a Holocaust narrative?

2. The United States Holocaust Memorial Museum in Washington, DC, has a large
collection of artifacts and educational displays about the events and people
of the Holocaust. Work collaboratively to research and take notes on your
assigned topics by exploring the museum’s website, starting with the page
“The Holocaust: A Learning Site for Students.”
3. Each of the topics on the Learning Site links to a different webpage. Visit the
website to explore your topics. Take notes on a graphic organizer like the
one below in order to prepare your talking points for a presentation on the
Holocaust. Your talking points should contain interesting information that leads
to an exploration of the theme, or central idea.
On the next page is a list of topics about the Holocaust. Your teacher will
assign each group a topic (column) and individual subjects within that
topic to research. As you research, neatly copy your key dates and events
onto individual index cards to add to the collaborative timeline after your
presentation.

My Group’s Topic:

© 2014 College Board. All rights reserved.

Topic 1: Topic 2:

Notes for Talking Points: Notes for Talking Points:

Summaries and Dates of Key Summaries and Dates of Key

Events: Events:

180 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.7
continued

4. Mark the chart to indicate your assignment by circling the title of your group’s
topic (column) and highlighting or placing a check mark by the topics you are
responsible for.

Nazi Rule Jews in Prewar The “Final Nazi Camp Rescue and
Germany Solution” System Resistance

• Hitler Comes to • Jewish Life in • Ghettos in • Prisoners of • Rescue in

Power Europe Before Poland the Camps Denmark
the Holocaust
• The Nazi Terror • Life in the • “Enemies of • Jewish Partisans
Begins • Antisemitism Ghettos the State”
• The Warsaw
• SS Police State • The Boycott • Mobile Killing • Forced Labor Ghetto Uprising
of Jewish Squads
• Nazi Propaganda Businesses • Death Marches • Killing Center
and Censorship • The Wannsee Revolts
• The Nuremberg Conference • Liberation
• Nazi Racism Race Laws and the “Final • The War Refugee
Solution” • The Survivors Board
• World War II in • The “Night of
Europe Broken Glass” • At the Killing • The Nuremberg • Resistance
Centers Trials Inside Germany
• The Murder of • The Evian
the Handicapped Conference • Deportations

• German Rule in • Voyage of the • Auschwitz

Occupied Europe St. Louis

• Locating
© 2014 College Board. All rights reserved.

the Victims

Source: Copyright © United States Holocaust Memorial Museum, Washington, D.C.

5. Present your talking points to your peer group, and then prepare a collaborative
presentation based on your group’s most interesting or important talking
points. Each person in your group should prepare and present at least one
talking point. Use the outline that follows to organize your presentation. Draft
an introduction and conclusion, arrange the order of talking points into broader
categories, and assign a speaker to each part of the presentation.

Unit 3 • The Challenge to Make a Difference 181

 ACTIVITY 3.7
Exploring the Museum
continued

Organization of Presentation Assignment

Introduction: Begin with a dramatic interpretation of Dramatic Interpretation:
a startling fact, statistic, or anecdote from the site and Preview:
preview what is to follow in the presentation.

Transition:
Talking Point 1: Topic:

Transition:
Talking Point 2: Topic:

Transition:
Talking Point 3: Topic:

Transition:
Talking Point 4: Topic:

Conclusion: Summarize the main points of your Brief Summary:

discussion and end with a thoughtful question or Question or Connection:
thematic connection.

6. As you rehearse your presentation, turn to the Scoring Guide criteria and use it
My Notes to evaluate yourself and the rest of your group.
7. Deliver your presentation and add the information from your index cards to the
collaborative timeline.
8. As you view the other presentations, take notes in your Reader/Writer Notebook.
Use a chart like the one below, drawing a line under each new presentation.

© 2014 College Board. All rights reserved.

Presentation Topic Facts and My Opinion and
and Speaker Names Information about Evaluation of the
the Topic Talking Points

9. Reflect on your group’s collaborative presentation:

• What did your group do well?
• What will you do differently next time?

Check Your Understanding

Analyze the collaborative timeline created by your class. What inferences can you
make about the Holocaust?

182 SpringBoard® English Language Arts Grade 8

 Presenting Voices ACTIVITY
3.8

Learning Targets
• Research a specific Holocaust victim and present a narrative that captures his or LEARNING STRATEGIES:
Note-taking, Graphic
her story.
Organizer, Drafting, Adding,
• Apply an understanding of active and passive voice, by using voice for effect. Substituting, Oral Reading

Researching the Holocaust

1. During the Holocaust, many people fit into one of the following categories
based on either their circumstances or decisions that they made. Try to think My Notes
of individual examples of each from your reading, research, and/or prior
knowledge. Which group do you think was the largest? Which was the smallest?
Victims:
Perpetrators:
Rescuers:
Bystanders:

2. Choose an ID card from the Holocaust Museum website. Take notes on each
section of your card, using the chart to organize information.

Name:
Date of Birth:
Place of Birth:

Biographical Background:

Experiences from 1933–1939:

© 2014 College Board. All rights reserved.

War Years:

Future and Fate:

Unit 3 • The Challenge to Make a Difference 183

ACTIVITY 3.8
Presenting Voices
continued

My Notes Language and Writer’s Craft: Using Voice and Mood for Effect
Active Versus Passive Voice
When writing or speaking, active voice is usually preferred to passive voice.
However, skilled writers and speakers use voice for effect, so sometimes it is
more powerful to use the passive voice. Study the model below. How is the effect
different in each sentence?
Passive: Relocation camps were used to destroy whole villages.
Active: The Nazis used the camps to empty whole villages of their citizens.
Active voice names the destroyers, passive voice hides the destroyers. Do you as a
writer want to show responsibility or hide responsibility?
Mood
You learned in earlier units that conditional mood expresses a hypothetical
situation while the subjunctive mood describes a state contrary to fact. When using
the verb “to be” in the subjunctive, always use were rather than was.
For example:
Conditional Mood: I would have spoken out against the Nazis if I had been
alive then.
Subjunctive Mood: If I were a prisoner in a concentration camp, would I survive?
As a class, create additional model sentences relating to the Holocaust, using
passive and active voice and conditional and subjunctive mood effectively
and correctly.
Passive: Prisoners were given only numbers in a move to dehumanize them.
Active: The Nazis gave the prisoners numbers in a move to dehumanize them.
Conditional: If a prisoner was no longer able to work, he was killed.
Subjunctive: If Hitler were born today, would he be able to rise to power?

Narrative Writing Prompt: Think about the research you did on the experiences

© 2014 College Board. All rights reserved.

of one victim of the Holocaust. Draft one victim’s story using information from all
four sections of the ID card. Be sure to:
• Use narrative technique (dialogue, pacing, description, and reflection) to
develop experiences, events, and/or characters.
• Establish a context and use first person point of view.
• Sequence events logically and naturally using your notes as a guide.
• Use voice and mood effectively.

184 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.8
continued

3. Revise your writing to show your understanding of voice and mood by adding
or substituting for effect. Also, be sure you have included transitions to convey Literary Terms
sequence, signal shifts, and connect the relationships among experiences Enunciation, like
and events. Reflect on your editing: How does using voice and mood for effect pronunciation, relates to
strengthen your writing? how words are spoken. To
enunciate is to pronounce
Presenting the Narrative words so they can be clearly
understood by an audience.
4. Before you prepare an oral reading of your narrative, examine the criteria for To pronounce is to say words
evaluation below. These criteria also apply to speaking. correctly as well as clearly.

Element of Expressive Oral Proficient Emerging

Reading/Speaking

Enunciation: Enunciation is clear, correct, and Mumbling, incorrect, or indistinct

Pronunciation of words effective throughout the reading pronunciation hinders the listener’s
and enhances the listener’s understanding.
understanding.

Pitch: Variety in vocal highs and Mostly monotone

Vocal highs and lows lows enhances the listener’s
understanding of the passage.

Volume: Variety in volume enhances the Too quiet

Variety in volume listener’s understanding of the
passage.

Tempo: Appropriate pacing enhances the Too fast or too slow

Appropriate pacing (fast or slow) listener’s understanding of the
passage.
© 2014 College Board. All rights reserved.

Phrasing: Pauses and emphasis enhances No pauses or emphasized words

Pausing at appropriate points and the listener’s understanding of the
for emphasis passage.

5. Prepare and present an oral reading of your revised narrative to a small group
of your peers. Use the chart above to provide feedback about each speaker’s WORD
strengths and weaknesses. CONNECTIONS
Roots and Affixes
Check Your Understanding The word monotone includes
How did the process of researching a person from the Holocaust and assuming that the prefix mono, meaning
person’s ID add to your understanding of the Holocaust? “one,” as in monologue,
monomania, and monocle.
Thus monotone means “one
tone,” or “without inflection.”

Unit 3 • The Challenge to Make a Difference 185

ACTIVITY Finding Light in Film
3.9

Learning Targets
LEARNING STRATEGIES: • Explain how writers use literary elements such as setting, character, plot, and
Predicting, Graphic Organizer,
mood to develop a theme.
Drafting, Oral Reading,
Discussion Groups • Present an effective oral reading and transform a written draft into talking
points for discussion.

Finding Light in the Darkness

My Notes 1. Return to Activity 3.2 and reread the quotes. Notice that each speaker uses the
imagery of light and darkness to express his or her ideas about good and evil,
love and hatred, hope and depression—all of which are opposites. How do you
think this conflict between opposites might be portrayed in film?

Life is Beautiful is a fictional story about a family in Italy that is sent to a

concentration camp. The father and son are Jewish, but the mother is not. The
father tries to protect his son from the ugly realities of the Holocaust by making
it seem as if they are playing a game whose prize is a real tank.

2. Based on the information above, predict conflicts that the father might
encounter as he tries to convince his son that the concentration camp is
just a game.

3. Work in groups of four to take notes on setting, character, plot, and mood in
each film clip. Share notes and trade jobs after each clip to complete the graphic
organizer on the next page.

© 2014 College Board. All rights reserved.

186 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.9
continued

Setting Character(s) Plot Mood

Clip 1

Clip 2

Clip 3
© 2014 College Board. All rights reserved.

Clip 4

Unit 3 • The Challenge to Make a Difference 187

ACTIVITY 3.9
Finding Light in Film
continued

Expository Writing Prompt: How is the theme “finding light in the darkness”
My Notes expressed in the film? Write a draft that explains how setting, characters, and/or
plot are used to develop theme. Be sure to:
• Begin with a topic sentence that responds to the prompt.
• Provide textual evidence and commentary for support.
• Use precise diction to inform or explain.

Prepare and present an oral reading of your written draft. Use the chart in the
previous activity to guide your preparation. Present your response to another pair
of students. Provide feedback about ideas and oral reading.

Check Your Understanding

Work with your group to transform your draft into talking points to guide a class
discussion about the theme. After your class discussion, prepare talking points
for a small group discussion on at least two of the following prompts. Be sure to
include textual evidence from the film to support your opinion. During your small
group discussion, create and use a graphic organizer like the one on page 169 to
record and respond to the other speakers’ talking points.

Discussion Prompts:
A. Is it disrespectful to make a film about the Holocaust that has so much comedy
in it?
B. What aspects of the Holocaust, as portrayed in the film, are similar to or
different from what you learned in your research?
C. How and when did the mood change during the film clips, and what settings,
characters, or events caused those shifts?

© 2014 College Board. All rights reserved.

188 SpringBoard® English Language Arts Grade 8

 Dramatic Tone Shifts ACTIVITY
3.10

Learning Target
• Analyze how dialogue is used in a play to develop character or plot and to LEARNING STRATEGIES:
Skimming/Scanning, Marking
reveal theme.
the Text, Close Reading,
Rereading, Oral Reading,
Before Reading Discussion Groups, Drafting,
1. Are there moments in your Holocaust narrative when the tone changes or shifts Adding
from the emotions that one usually associates with the Holocaust? Explain
those moments or events.

My Notes

2. Read the following information to set the context for the reading.
The following text includes a scene from the Pulitzer-Prize-winning play based
on the actual diary of Anne Frank, a Jewish teenager in Amsterdam during World
War II. She and her family and four other people avoided discovery by the Nazis
for two years by living in a hidden attic.
3. In your group, assign roles for an oral reading of the scene.

During Reading
4. Prepare for an oral reading by skimming/scanning the scene independently,
marking and annotating your character’s lines:
• Mark connotative diction and label the tone you intend to use in speaking
lines of dialogue.
• Mark words of the dialogue that you will emphasize with a shift in volume
or pitch.
• Place slash marks in places where you will pause for effect.

5. Conduct an oral reading in your group, using your marks and annotations as
a guide.
© 2014 College Board. All rights reserved.

Drama

Anne Frank
from
The Diary of
by Frances Goodrich and Albert Hackett

Families living in the hidden attic:

Mr. Frank and Mrs. Frank: Anne and Margot Frank’s parents
Margot and Anne: sisters, 18 and 13 years old
Mr. van Daan and Mrs. van Daan: Mr. van Daan worked with Otto Frank in Amsterdam
Peter van Daan: their son
Mr. Dussel: older; dentist who also lives in the attic
Others:
Miep Gies: close friend of the Frank family
Eisenhower: the voice of the American general

Unit 3 • The Challenge to Make a Difference 189

ACTIVITY 3.10
Dramatic Tone Shifts
continued

Scene: Anne, Mr. Dussel, Mr. van Daan, Mr. Frank, Mrs. van Daan, Mrs. Frank,
My Notes Margot, Peter, Miep, Eisenhower
(Night. Everyone is asleep. Suddenly, Mrs. Frank sits up in bed)
Mrs. Frank: (in a whisper) Otto. Listen. The rat!
Mr. Frank: Edith, please. Go back to sleep. (He turns over. Mrs. Frank gets up, quietly
creeps to the main room, standstill. There is a tiny crunching sound. In the darkness, a figure
is faintly illuminated, crouching over, gnawing on something. Mrs. Frank moves closer, turns
on the light. Trembling, Mr. van Daan jumps to his feet. He is clutching a piece of bread)
Mrs. Frank: My God, I don’t believe it! The bread! He’s stealing the bread! (Pointing at
Mr. van Daan.) Otto, look!
Mr. van Daan: No, no. Quiet.
Mr. Frank: (As everyone comes into the main room in their nightclothes) Hermann, for
KEY IDEAS AND DETAILS God’s sake!
Find Mrs. Frank’s dialogue in
which she uses the conditional Mrs. van Daan: (Opening her eyes sleepily) What is it? What’s going on?
mood. Why is it a particularly
Mrs. Frank: It’s your husband. Stealing our bread!
effective way to show her
attitude toward Mr. van Daan Mrs. van Daan: It can’t be. Putti, what are you doing?
in this scene?
Mr. van Daan: Nothing.
KEY IDEAS AND DETAILS Mr. Dussel: It wasn’t a rat. It was him.
Why is Mrs. Frank so angry?
Mr. van Daan: Never before! Never before!
Mrs. Frank: I don’t believe you. If he steals once, he’ll steal again. Every day I watch the
children get thinner. And he comes in the middle of the night and steals food that should
go to them!
Mr. van Daan: (His head in his hands) Oh my God. My God.
Mr. Frank: Edith. Please.
Margot: Mama, it was only one piece of bread.

© 2014 College Board. All rights reserved.

Mr. van Daan: (Putting the bread on the table. In a panic) Here. (Mrs. Frank swats the
bread away)

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 ACTIVITY 3.10
continued

Mr. Frank: Edith, he couldn’t help himself! It could happen to any one of us.
Mrs. Frank: (Quiet) I want him to go. GRAMMAR USAGE
Pronoun Antecedents
Mrs. van Daan: Go? Go where?
A pronoun takes the place of
Mrs. Frank: Anywhere. a noun or another pronoun,
called its antecedent.
Mrs. van Daan: You don’t mean what you’re saying. Mrs. Frank speaks the
Mr. Dussel: I understand you, Mrs. Frank. But it really would be impossible for them— sentence “They have to!” To
whom is she referring? The
Mrs. Frank: They have to! I can’t take it with them here. preceding part of the play
Mr. Frank: Edith, you know how upset you’ve been these past— indicates that Mrs. Frank is
referring to the van Daans.
Mrs. Frank: That has nothing to do with it. How confusing would this
be, however, if you did not
Mr. Frank: We’re all living under terrible strain. (Looking at Mr. van Daan) It won’t
know the antecedent (the
happen again.
van Daans in this example)?
Mr. van Daan: Never. I promise. When using pronouns in your
Mrs. Frank: I want them to leave. writing, make sure you have
clearly stated the nouns to
Mrs. van Daan: You’d put us out on the street? which your pronouns refer.
Mrs. Frank: There are other hiding places. Miep will find something. Don’t worry about As you read, look for other
examples of antecedents.
the money. I’ll find you the money.
Mrs. van Daan: Mr. Frank, you told my husband you’d never forget what he did for you
when you first came to Amsterdam.
Mrs. Frank: If my husband had any obligation to you, it’s paid for. My Notes
Mr. Frank: Edith, I’ve never seen you like this, for God’s sake.
Anne: You can’t throw Peter out! He hasn’t done anything.
Mrs. Frank: Peter can stay.
Peter: I wouldn’t feel right without Father.
© 2014 College Board. All rights reserved.

Anne: Mother, please. They’ll be killed on the street.

Margot: Anne’s right. You can’t send them away.
Mrs. Frank: They can stay till Miep finds them a place. But we’re switching rooms. I don’t KEY IDEAS AND DETAILS
want him near the food. Why is news of the invasion
Mr. Dussel: Let’s divide it up right now. so important?

Margot: (As he gets a sack of potatoes.) We’re not going to divide up some rotten potatoes.
Mr. Dussel: (Dividing the potatoes into piles.) Mrs. Frank, Mr. Frank, Margot, Anne, Peter,
Mrs. van Daan, Mr. van Daan, myself… Mrs. Frank, Mr. Frank…
Margot: (Overlapping.) Mr. Dussel, please. Don’t! No more. No more, Mr. Dussel! I beg
you. I can’t bear it. (Mr. Dussel continues counting nonstop. In tears.) Stop! I can’t take it …
Mrs. Frank: All this … all that’s happening …

Unit 3 • The Challenge to Make a Difference 191

ACTIVITY 3.10
Dramatic Tone Shifts
continued

Mr. Frank: Enough! Margot. Mr. Dussel. Everyone—back to your rooms. Come, Edith.
GRAMMAR USAGE Mr. Dussel, I think the the potatoes can wait. (Mr. Dussel goes on counting. Tearing the
Punctuation sack from Mr. Dussel, the potatoes spilling.) Just let them wait! (He holds out his hand for
Punctuation helps to clarify Mrs. Frank. They all go back to their rooms. Peter and Mrs. van Daan pick up the scattered
meaning in sentences. Notice potatoes. Not looking at each other, Mr. and Mrs. van Daan move to their separate beds. The
the varied punctuation on buzzer rings frantically, breaking the silence.) Miep? At this hour? (Miep runs up the stairs,
these pages. as everyone comes back into the main room.)
Ellipses (…) are used to show Miep: (Out of breath.) Everyone … everyone … the most wonderful, incredible news!
pauses or to show that words
are omitted. Mr. Frank: What is it?
A colon (:) is used in a script Miep: (Tears streaming down her cheeks.) The invasion. The invasion has begun! (They
to follow the name of the stare at her, unable to grasp what she is telling them.) Did you hear me? Did you hear what
speaker. It is also used to I said? The invasion! It’s happening—right now! (As Mrs. Frank begins to cry.) I rushed to
introduce a list of a second tell you before the workmen got here. You can feel it in the streets—the excitement! This is
clause that explains or it. They’ve landed on the coast of Normandy.
expands on the first.
Peter: The British?
An exclamation point (!) is
used to show excitement. Miep: British, Americans … everyone! More than four thousand ships! Look—I brought
a map. (Quickly she unrolls a map of Normandy on the table.)
A dash (—) is used to set off
or emphasize content. Mr. Frank: (Weeping, embracing his daughters.) For over a year we’ve hoped for
Parentheses ( ) set off this moment.
comments or additional Miep: (Pointing.) Cherbourg. The first city. They’re fighting for it right now.
information in a sentence.
Mr. Dussel: How many days will it take them from Normandy to the Netherlands?
Mr. Frank: (Taking Mrs. Frank in his arms.) Edith, what did I tell you?
Mr. Dussel: (Placing the potatoes on the map to hold it down as he checks the cities.)
My Notes Cherbourg. Caen. Pont L’Eveque. Paris. And then … Amsterdam! (Mr. van Daan breaks
into a convulsive sob.)
Mrs. van Daan: Putti.
Mr. Frank: Hermann, didn’t you hear what Miep said? We’ll be free … soon. (Mr. Dussel

© 2014 College Board. All rights reserved.

turns on the radio. Amidst much static, Eisenhower’s voice is heard from his broadcast of
June 6, 1944.)
Eisenhower: (Voice Over) People of Western Europe, a landing was made this morning on
the coast of France by troops of the Allied Expeditionary Force. This landing is part of the
concerted United Nations plan for the liberation of Europe …

192 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.10
continued

Mr. Frank: (Wiping tears from his eyes.) Listen. That’s General Eisenhower. (Anne pulls
Margot down to her room.)
KEY IDEAS AND DETAILS
Eisenhower: (Voice Over, fading away) … made in conjunction with our great Russian How does Miep’s news
allies. I have this message for all of you. Although the initial assault may not have been change the tone of the
made in your own country, the hour of your liberation is approaching. All patriots … scene?
Anne: (Hugging Margot.) Margot, can you believe it? The invasion! Home. That means we
could be going home.
My Notes
Margot: I don’t even know what home would be like anymore. I can’t imagine it—we’ve
been away for so long.
Anne: Oh, I can! I can imagine every little detail. And just to be outside again. The sky,
Margot! Just to walk along the canal!
Margot: (As they sit down on Anne’s bed.) I’m afraid to let myself think about it. To have a
real meal—(They laugh together.) It doesn’t seem possible! Will anything taste the same?
Look the same? (Growing more and more serious.) I don’t know if anything will ever feel
normal again. How can we go back … really?

After Reading
6. Discuss how and when the tone shifted in the play. Did setting, character, or
plot cause the shift in tone?

Check Your Understanding

Expository Writing Prompt: Think about the characters in the scene from
The Diary of Anne Frank. How does their dialogue reveal the characters and the
conflicts of the story and increase the reader’s understanding of an aspect of the
Holocaust experience? Draft a response that explains how specific dialogue is used
to develop character(s) or plot, and to reveal theme. Be sure to:
• Begin with a topic sentence that responds to the prompt.
• Provide textual evidence and commentary for support.
© 2014 College Board. All rights reserved.

• Use variety in sentence mood and voice

Revise your writing to add transitions to clarify the relationships among ideas
and concepts.

Unit 3 • The Challenge to Make a Difference 193

ACTIVITY The Wrong Side of the Fence
3.11

Learning Targets
LEARNING STRATEGIES: • Analyze an excerpt of a Holocaust narrative and prepare talking points to present
Marking the Text,
in a panel discussion.
Note-taking, Graphic Organizer,
Close Reading, Outlining, • Deliver an oral reading of a passage that conveys a thematic idea.
Summarizing, Rehearsal
Before Reading
1. Quickwrite: How does the theme “finding light in the darkness” connect to the
subject of the Holocaust? Use examples from text(s) to support your response.
My Notes

2. Why would an author write a Holocaust narrative from a child’s perspective?

How would that change a reader’s understanding of the story?

During Reading
3. As you read, mark and annotate the text to indicate your analysis of the
characters, setting, and event. After each chunk, record your notes in the
graphic organizer or in your Reader/Writer Notebook. Your notes will later
be used to prepare talking points.

Character 1: Character 2: Setting:

© 2014 College Board. All rights reserved.

Plot
Beginning: Middle: End:

Theme:

194 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.11
continued

ABOUT THE AUTHOR My Notes

John Boyne (1971–) is an Irish writer who began his writing career creating
short stories. He published The Boy in the Striped Pajamas in 2006, and this
novel proceeded to win multiple international awards. The novel also was
made into a film.

Fiction
from
The Boy in the Striped Pajamas
by John Boyne

1 Two boys were sitting on opposite sides of a fence.

KEY IDEAS AND DETAILS
2 “All I know is this,” began Shmuel. “Before we came here I lived with my mother
Analyze the opening line.
and father and my brother Josef in a small flat above the store where Papa makes his
Where do you predict
watches. Every morning we ate our breakfast together at seven o’clock and while we
the boys are? What is
went to school, Papa mended the watches that people brought to him and made new
significant about this
ones too. I had a beautiful watch that he gave me but I don’t have it anymore. It had a
setting?
golden face and I wound it up every night before I went to sleep and it always told the
right time.”
KEY IDEAS AND DETAILS
3 “What happened to it?” asked Bruno.
Analyze the description and
4 “They took it from me,” said Shmuel. dialogue. Why is the watch
so important to Shmuel?
5 “Who?” What does it symbolize
6 “The soldiers of course,” said Shmuel as if it was the most obvious thing for him?
in the world.
© 2014 College Board. All rights reserved.

7 “And then one day things started to change,” he continued. “I came home from KEY IDEAS AND DETAILS
school and my mother was making armbands for us from a special cloth and drawing a What does Bruno not seem
to understand about their
star on each one. Like this.” Using his finger he drew a design in
different situations, as
the dusty ground beneath him.
shown in the conversation
about the armbands?
The star of David.

8 “And every time we left the house, she told us we had to wear one of these
armbands.”
9 “My father wears one too,” said Bruno. “On his uniform. It’s very nice. It’s bright
red with a black-and-white design on it.” Using his finger he drew another design in the
dusty ground on his side of the fence.

A swastika.

10 “Yes, but they’re different, aren’t they?” said Shmuel.

11 “No one’s ever given me an armband,” said Bruno.

12 “But I never asked to wear one,” said Shmuel.

Unit 3 • The Challenge to Make a Difference 195

 ACTIVITY 3.11
The Wrong Side of the Fence
continued

13 “All the same,” said Bruno, “I think I’d quite like one. I don’t know which one I’d
My Notes prefer though, your one or father’s.”
14 Shmuel shook his head and continued with his story. He didn’t often think about
these things anymore because remembering his old life above the watch shop made him
very sad.
15 “We wore the armbands for a few months,” he said. “And then things changed
again. I came home one day and Mama said we couldn’t live in our home any more.”
16 “That happened to me too!” said Bruno, delighted that he wasn’t the only boy who’d
been forced to move. “The Fury came for dinner, you see, and the next thing I knew we
moved here. And I hate it here,” he added. “Did he come to your house and do the same
thing?”
17 “No, but when we were told we couldn’t live in our house we had to move to a
different part of Cracow, where the soldiers built a big wall and my mother and father
and my brother and I all had to live in one room.”
18 “All of you?” asked Bruno. “In one room?”

“And not just us,” said Shmuel. “There was another family there and the mother and
father were always fighting with each other and one of the sons was bigger than me and
KEY IDEAS AND DETAILS hit me even when I did nothing wrong.”
Examine the paragraph that
talks about “The Fury.” Who is 19 “You can’t have all lived in the one room,” said Bruno. “That doesn’t make
this and why does Bruno call any sense.”
him “The Fury”? 20 “All of us,” said Shmuel. “Eleven in total.”

Bruno opened to his mouth to contradict him again—he didn’t really believe that
KEY IDEAS AND DETAILS eleven people could live in the same room together—but changed his mind.
Why is Bruno having such a
hard time believing Shmuel’s 21 “We lived there for some more months,” continued Shmuel, “all of us in that one
story? What does the dialogue room. There was one small window in it but I didn’t like to look out of it because then
reveal about his character? I would see the wall and I hated the wall because our real home was on the other
side of it. And this part of town was a bad part because it was always noisy and it was
impossible to sleep. And I hated Luka, who was the boy who kept hitting me even when

© 2014 College Board. All rights reserved.

I did nothing wrong.”
22 “Gretel hits me sometimes,” said Bruno. “She’s my sister,” he added. “And a Hopeless
Case. But soon I’ll be bigger and stronger than she is and she won’t know what’s hit her
then.”
23 “Then one day the soldiers all came with huge trucks,” continued Shmuel, who
didn’t seem all that interested in Gretel. “And everyone was told to leave the houses.
Lots of people didn’t want to and they hid wherever they could find a place but in the
end I think they caught everyone. And the trucks took us to a train and the train …” He
hesitated for a moment and bit his lip. Bruno thought he was going to start crying and
couldn’t understand why.
24 “The train was horrible,” said Shmuel. “There were too many of us in the carriages
for one thing. And there was no air to breathe. And it smelled awful.”
25 “That’s because you all crowded onto one train,” said Bruno, remembering the two
trains he had seen at the station when he left Berlin. “When we came here, there was
another one on the other side of the platform but no one seemed to see it. That was the
one we got. You should have got on it too.”
26 “I don’t think we would have been allowed,” said Shmuel, shaking his head. “We
weren’t able to get out of our carriage.”

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 ACTIVITY 3.11
continued

My Notes

KEY IDEAS AND DETAILS

What are the similarities
and differences between
27 “The door’s at the end,” explained Bruno. Bruno and Shmuel’s
28 “There weren’t any doors,” said Shmuel. experiences with trains?
Why does Bruno not
29 “Of course there were doors,” said Bruno with a sigh. “They’re at the end,” he understand the difference?
repeated. “Just past the buffet section.”
30 “There weren’t any doors,” insisted Shmuel. “If there had been, we would have
gotten off.”
31 Bruno mumbled something under his breath along the lines of “Of course there
were,” but he didn’t say it very loud so Shmuel didn’t hear.
32 “When the train finally stopped,” continued Shmuel, “we were in a very cold place
and we all had to walk here.”
33 “We had a car,” said Bruno, out loud now.

34 “And Mama was taken away from us, and Papa and Josef and I were put into the
huts over there and that’s where we’ve been since.”
35 Shmuel looked very sad when he told this story and Bruno didn’t know why;
it didn’t seem like such a terrible thing to him, and after all much the same thing
© 2014 College Board. All rights reserved.

happened to him.
36 “Are there many other boys over there?” asked Bruno.

37 “Hundreds,” said Shmuel.

38 Bruno’s eyes opened wide. “Hundreds?” he said, amazed. “That’s not fair at all.
There’s no one to play with on this side of the fence. Not a single person.”
39 “We don’t play,” said Shmuel.

40 “Don’t play? Why ever not?”

41 “What would we play?” he asked, his face looking confused at the idea of it.

42 “Well, I don’t know,” said Bruno. “All sorts of things. Football, for example. Or
exploration. What’s the exploration like over there anyway? Any good?”
43 Shmuel shook his head and didn’t answer. He looked back towards the huts and
turned back to Bruno then. He didn’t want to ask the next question but the pains in his
stomach made him.
44 “You don’t have any food on you, do you?” he asked.

45 “Afraid not,” said Bruno. “I meant to bring some chocolate but I forgot.”

Unit 3 • The Challenge to Make a Difference 197

ACTIVITY 3.11
The Wrong Side of the Fence
continued

46 “Chocolate,” said Shmuel very slowly, his tongue moving out from behind his teeth.
My Notes “I’ve only ever had chocolate once.”
47 “Only once? I love chocolate. I can’t get enough of it although Mother says it’ll rot
my teeth.”
48 “You don’t have any bread, do you?”

49 Bruno shook his head. “Nothing at all,” he said. “Dinner isn’t served until half past
six. What time do you have yours?”
50 Shmuel shrugged his shoulders and pulled himself to his feet. “I think I’d better get
back,” he said.
51 “Perhaps you can come to dinner with us one evening,” said Bruno, although he
KEY IDEAS AND DETAILS wasn’t sure it was a very good idea.
How does the following
dialogue reveal theme: 52 “Perhaps,” said Shmuel, although he didn’t sound convinced.
“You’re on the wrong side of 53 “Or I could come to you,” said Bruno. “Perhaps I could come and meet your
the fence though”? friends,” he added hopefully. He had hoped that Shmuel would suggest this himself but
Why do you think Boyne chose there didn’t seem to be any sign of that.
to write a novel about the
Holocaust? 54 “You’re on the wrong side of the fence though,” said Shmuel.

55 “I could crawl under,” said Bruno, reaching down and lifting the wire off the
KEY IDEAS AND DETAILS ground. In the centre, between two wooden telegraph poles, it lifted quite easily and a
Why is Shmuel only now boy as small as Bruno could easily fit through.
worried about getting in
trouble? 56 Shmuel watched him do this and backed away nervously. “I have to get back,” he said.

57 “Some other afternoon then,” said Bruno.

58 “I’m not supposed to be here. If they catch me I’ll be in trouble.”

59 He turned and walked away and Bruno noticed again how small and skinny this
new friend was. He didn’t say anything about this because he knew only too well how
unpleasant it was being criticized for something as silly as your height, and the last
thing he wanted to do was be unkind to Shmuel.

© 2014 College Board. All rights reserved.

60 “I’ll come back tomorrow,” shouted Bruno to the departing boy and Shmuel said
nothing in reply; in fact he started to run off back to the camp, leaving Bruno all on
his own.

After Reading
4. Use your notes to prepare talking points that will guide a meaningful discussion
of the text. Be sure to:
• Discuss how an individual (character), event (plot), or place (setting)
contributes to the development of a theme.
• Include detail from text, commentary (analysis), and questions to
spark discussion.

5. Work collaboratively to prepare the content of your panel discussion. Use the
outline on the next page to organize your presentation. Draft an introduction
and conclusion, select and arrange talking points into broader categories, and
assign a speaker to each part of the presentation. This time, have at least two
people present the dramatic interpretation of the text.

198 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.11
continued

Organization of Presentation Assignment

My Notes
Introduction: Begin with a dramatic Dramatic Interpretation:
interpretation of an important
section of the narrative, and preview
what is to follow in the presentation. Preview:

Transition:

Talking Point 1: Topic:

Transition:

Talking Point 2: Topic:

Conclusion: Summarize the main Brief Summary:

points of your discussion. Connect
the story to the theme of “finding
light in the darkness.” Connection to Theme:

6. Review the criteria from the Scoring Guide on page 204 to prepare the delivery
of your panel discussion.
© 2014 College Board. All rights reserved.

7. After rehearsing your panel discussion, present it to another group. Use the
Scoring Guide to provide specific feedback and suggestions for improvement
(focus on the quality of speakers’ interpretation and evidence).

Check Your Understanding

Write a short, objective summary of the excerpt from The Boy in the Striped
Pajamas, including its theme and how the characters, setting, and plot relate
to the theme.

Unit 3 • The Challenge to Make a Difference 199

ACTIVITY Creating a Memorable Opening
3.12

Learning Targets
LEARNING STRATEGIES: • Transform a prose selection into a “found poem.”
Rereading, Close reading,
Oral Reading, Choral Reading, • Present a dramatic interpretation.
Discussion Groups
Before Reading
1. In a previous activity, you read a play based on Anne Frank’s diary. What could
you learn from her diary that you could not learn from the play?
My Notes
During Reading
2. Independently read the entry below from The Diary of Anne Frank.

ABOUT THE AUTHOR

Anne Frank (1929–1945) is one of the Holocaust’s most famous victims.
The Frank family fled Germany for Amsterdam, but eventually the Nazis
also occupied the Netherlands. The family spent two years in hiding, during
which Anne wrote of her thoughts and feelings to her imaginary friend, Kitty.
The German authorities found the family’s hiding place and sent them to
concentration camps, where Anne perished at age 15. Her diary was found
years later, and it continues to be read today as a moving narrative from
the Holocaust.

Diary
from
The Diary
of a Young Girl
Wednesday, 13 January, 1943

© 2014 College Board. All rights reserved.

by Anne Frank

Dear Kitty,
Everything has upset me again this morning, so I wasn’t able to finish a single thing
properly.
It is terrible outside. Day and night more of those poor miserable people are
being dragged off, with nothing but a rucksack and a little money. On the way they
are deprived even of these possessions. Families are torn apart, the men, women, and
children all being separated. Children coming home from school find that their parents
have disappeared. Women return from shopping to find their homes shut up and their
families gone.
The Dutch people are anxious too, their sons are being sent to Germany. Everyone
is afraid.
And every night hundreds of planes fly over Holland and go to German towns,
where the earth is plowed up by their bombs, and every hour hundreds and thousands
of people are killed in Russia and Africa. No one is able to keep out of it, the whole
globe is waging war and although it is going better for the allies, the end is not yet
in sight.

200 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.12
continued

And as for us, we are fortunate. Yes, we are luckier than millions of people. It is
quiet and safe here, and we are, so to speak, living on capital. We are even so selfish as My Notes
to talk about “after the war,” brighten up at the thought of having new clothes and new
shoes, whereas we really ought to save every penny, to help other people, and save what
is left from the wreckage after the war.
The children here run about in just a thin blouse and clogs; no coat, no hat, no
stockings, and no one helps them. Their tummies are empty; they chew an old carrot to
stay the pangs, go from their cold homes out into the cold street and, when they get to KEY IDEAS AND DETAILS
school, find themselves in an even colder classroom. Yes, it has even got so bad in Holland Why does Anne feel that
that countless children stop the passers-by and beg for a piece of bread. I could go on she is fortunate?
for hours about all the suffering the war has brought, but then I would only make myself
more dejected. There is nothing we can do but wait as calmly as we can till the misery
comes to an end. Jews and Christians wait, the whole earth waits, and there are many who
wait for death.
Yours,
Anne

After Reading
3. The opening two paragraphs have been transformed into a found poem. With a
partner, conduct an oral reading using choral reading for effect.

“Wednesday, 13 January, 1943”

Everyone is afraid:

It is terrible outside.
Day and night Literary Terms
more of those poor miserable people A found poem is verse that
are being dragged off. is created from a prose
© 2014 College Board. All rights reserved.

text by using the original

words, phrases, images,
Families are torn apart. and/or sentences, but
Children coming home from school manipulating them and
find that their parents reformatting them into
poetic lines.
have disappeared.

Women
return from shopping to find
their homes shut up and
their families gone.

The Dutch people,

their sons are being sent
to Germany.
Everyone is afraid …

Unit 3 • The Challenge to Make a Difference 201

ACTIVITY 3.12
Creating a Memorable Opening
continued

4. The author of the found poem selected particular lines from the text and then
My Notes transformed them into poetry. How does this transformation change the power
of the language?

5. How does the structure of the lines in the found poem transform the text from
prose to poetry? Which lines stand out? Why?

6. How would a dramatic interpretation of this found poem successfully open a

panel discussion about the Holocaust?

Check Your Understanding

Reread the rest of the diary entry, highlighting words, phrases, and images you
think are important. Then, transform the text into a found poem and plan a dramatic
interpretation (i.e., oral reading) of the text. Present your oral reading to a partner,

© 2014 College Board. All rights reserved.

and listen and provide feedback to your partner’s oral reading.

INDEPENDENT
READING LINK
Choose a passage from the
Holocaust narrative you are
reading to transform into a
found poem. Perform an oral
reading of your poem at the
final literature circle meeting.

202 SpringBoard® English Language Arts Grade 8

 Presenting Voices of the Holocaust EMBEDDED
ASSESSMENT 1

Assignment
Present a panel discussion that includes an oral reading of a significant passage from My Notes
the narrative read by your group. Your discussion should explain how the theme or
central idea of “finding light in the darkness” is developed in the entire narrative.

Planning: Discuss your ideas with your group to prepare a focus for your
panel discussion.
• How was the theme or central idea of “finding light in the darkness” developed
in your Holocaust narrative?
• How did supporting details such as character, plot, and setting contribute to the
theme?
• How will you find a significant passage for your oral reading that will help
communicate the idea of “finding light in the darkness”?
• How will you assign talking points to each group member to include an
introduction, at least two supporting details, and a conclusion?

Drafting: Write a draft of your talking point(s) that includes details from the
text, commentary (analysis), and discussion questions.
• How will the introductory talking point present a hook, summary of the text, and
thematic statement?
• How will the supporting talking points explain how an individual, event, or place
contributed to theme?
• How will the concluding talking point restate the theme, summarize the main
points of the discussion, and elicit textual connections (text to self, text, or
world) from the entire group?

Rehearsing: Rehearse and revise your panel discussion to improve the

final presentation.
© 2014 College Board. All rights reserved.

• How will you prepare notes to constructive feedback and build on ideas and
questions presented by other group members?
• How will your group create smooth transitions between speakers?
• How will you include your oral reading as you introduce and develop your
explanation?
• How will you use precise diction in order to establish and maintain a
formal style?
• How will you use eye contact, volume, and pronunciation to express your
ideas clearly?

Reflection
After completing this Embedded Assessment, think about how you went about Technology TIP:
accomplishing this task, and respond to the following:
If possible, consider
• How was the theme or central idea of “finding light in the darkness” developed in projecting an outline of
the different Holocaust narratives that you heard about in the panel discussions? your panel discussion to
• What did you learn from studying and discussing narratives about the Holocaust provide your audience with
that you can apply to your own life? an “agenda” to follow.

Unit 3 • The Challenge to Make a Difference 203

EMBEDDED
Presenting Voices of the Holocaust
ASSESSMENT 1

SCORING GUIDE
Scoring
Exemplary Proficient Emerging Incomplete
Criteria
Ideas The discussion The discussion The discussion The discussion
• includes an effective • includes an oral • includes an • does not include
oral reading of a reading of a text ineffective passage or an oral reading of
significant text passage reading of a passage a passage
passage • presents adequate • presents unfocused • does not explain how
• presents a variety of ideas to explain how or undeveloped literary elements in a
significant ideas to literary elements in a ideas to explain how narrative contribute
explain how literary narrative contribute literary elements in a to the development
elements contribute to the development narrative contribute of a theme
to the development of a theme to the development • provides minimal
of a theme • provides sufficient of a theme or irrelevant
• provides relevant elaboration to • provides insufficient elaboration.
elaboration to develop the topic, or weak elaboration
develop the topic, including textual to develop the topic.
including textual evidence, details,
evidence, details, commentary, and
commentary, and questions.
questions.

Structure The discussion The discussion The discussion The discussion

• demonstrates strong • demonstrates • demonstrates • demonstrates little or
evidence of effective sufficient evidence insufficient evidence no collaboration and/
collaboration and of collaboration and of collaboration and or preparation
preparation preparation preparation • lacks any obvious
• follows a logical • follows an adequate • follows an uneven organizational
and smooth organizational or ineffective structure
organizational structure organizational • does not use
structure • uses transitional structure transitional

© 2014 College Board. All rights reserved.

• uses transitional strategies to create • uses transitional strategies.
strategies effectively cohesion and clarify strategies
and purposefully. relationships. inconsistently.

Use of The speaker The speaker The speaker The speaker

Language • communicates • communicates • communicates • does not
effectively with group appropriately with inappropriately or communicate well
members and the group members and inconsistently with with the group of
audience the audience group members and/ audience
• uses consistent • uses sufficient or the audience • uses flawed,
precise diction and precise diction and • uses insufficient confusing, or basic
academic language academic language precise diction and diction and language
• demonstrates deep • demonstrates academic language • has frequent errors
command of the adequate command • demonstrates in standard English
conventions of of the conventions partial command grammar, usage, and
standard English of standard English of the conventions language.
grammar, usage, and grammar, usage, and of standard English
language (including language (including grammar, usage, and
active/passive voice). active/passive voice). language.

204 SpringBoard® English Language Arts Grade 8

 Previewing Embedded Assessment 2 ACTIVITY

and Looking at Multimedia 3.13

Learning Targets
• Reflect on and make connections between the lessons of the Holocaust and LEARNING STRATEGIES:
QHT, Close Reading,
“taking action.”
Paraphrasing, Graphic
• Analyze the skills and knowledge needed to complete Embedded Assessment 2 Organizer
successfully.

Making Connections
During your study of narratives of the Holocaust, you were asked to think about INDEPENDENT
the concept of “finding the light in the darkness.” This idea is developed further READING LINK
in the last half of the unit by building on the idea of people taking action to create To support your learning in
positive change in their communities and the world. the second half of the unit,
select a fiction or nonfiction
narrative about someone
Essential Questions who made a difference in
Reflect on your understanding of the relationship between the first Essential the world or who tried to
Question (Why is it important to learn about the Holocaust?) and the second confront social injustice.
Essential Question (How can one person make a difference?).

Developing Vocabulary
Return to the Academic Vocabulary and Literary Terms at the beginning of the unit. My Notes
Using the QHT strategy, re-sort the words based on your new learning.
1. Compare this sort with your original sort. How has your understanding
changed?

2. Select a word from the chart (or a Holocaust-related term) and write a concise
statement about your learning. How has your understanding changed over the
course of this unit?
© 2014 College Board. All rights reserved.

Unpacking Embedded Assessment 2

Closely read the Embedded Assessment 2 Assignment and the Scoring Guide.
Develop a multimedia presentation that informs your peers about an issue
of national or global significance and convinces them to take action. Work
collaboratively to conduct and synthesize research into an engaging campaign
that challenges your audience to make a difference.

Work with your class to paraphrase the expectations and create a graphic organizer
to use as a visual reminder of the required concepts (what you need to know) and
skills (what you need to do).
After each activity, use this graphic organizer to guide reflection about what you
have learned and what you still need to learn in order to be successful in the
Embedded Assessment.

Unit 3 • The Challenge to Make a Difference 205

ACTIVITY 3.13
Previewing Embedded Assessment 2
continued and Looking at Multimedia
3. How would you define multimedia? Think of the meanings of each part of
My Notes the word: “multi” and “media.” What is the connection between the word
“medium” and “media”?

4. Work with a partner to create a web showing the different types of media that
you use.

Media

5. Explain how you use the different types of media and for what purposes.

© 2014 College Board. All rights reserved.

206 SpringBoard® English Language Arts Grade 8

 Making a Difference ACTIVITY
3.14

Learning Targets
• Analyze visuals for purpose and effect. LEARNING STRATEGIES:
Discussion Groups
• Evaluate how diverse media enhance presentations of information.

Communicating with Visuals

1. How effective are visuals in making a point about a significant issue? How do ACADEMIC VOCABULARY
they compare with other media channels: speeches, articles, videos, radio A slogan is a memorable
announcements? phrase or motto used
to identify or promote a
product or group.
2. Look at the two images below. Each is intended as a “call to action” as part of a
public service campaign to make a difference. Examine each of the visuals and
determine its purpose. Note also that each image has text, including a slogan.
How does a slogan help promote a goal?
© 2014 College Board. All rights reserved.

3. Evaluate the effectiveness of the imagery and the slogan. Each image is
associated with a website. What can you tell about the sponsors of the visuals
by the web addresses? In groups, explore the websites and find other images,
text, and perhaps video associated with the campaigns.

Unit 3 • The Challenge to Make a Difference 207

ACTIVITY 3.14
Making a Difference
continued

4. In addition to the websites on the previous page, explore the following

My Notes government site, which has PSA (public service announcement) images
and videos: http://www.dhs.gov/if-you-see-something-say-something-
campaign. As you explore each website, analyze the purpose of the information
presented. In your groups, discuss and evaluate the purpose or purposes of
the information. Is it presented for social, commercial, public safety, or political
purposes?

5. Choose a recorder to capture the insights and conclusions of your group

discussion.

Poster Visit the website and take notes about the images, Why has this visual been created? Is it for social,
slogans, and additional media formats present. commercial, public safety, or political purposes?
Describe how the purpose is enhanced by the
media format.

1 http://www.nature.org/photosmultimedia/psas/
index.htm

2 http://www.dhs.gov/if-you-see-something-say-
something-campaign

3 Search wfp.org

© 2014 College Board. All rights reserved.

6. Quickwrite: What kind of music would you combine with these campaigns to
make them memorable?

Language and Writer’s Craft: Reviewing Participial Phrases

The participle forms of verbs can be used as adjectives. There are two participial
forms: present (ending in -ing) and past (usually ending in -d or -ed ). Look at these
examples of participles used as adjectives.

rising world concern

widely used medium

A participle may occur in a participial phrase, which includes the participle plus any
complements and modifiers. The whole phrase then serves as an adjective.

Located 275 miles north of San Francisco, Arcata is ….

An introductory participial phrase must modify the noun or pronoun that follows it.

208 SpringBoard® English Language Arts Grade 8

 Never Forget, Never Again ACTIVITY
3.15

Learning Targets
• Analyze the purpose, audience, and tone of a speech. LEARNING STRATEGIES:
SOAPSTone, Close Reading,
• Analyze a speech for the elements of argumentation. Discussion Groups, Drafting,
Rehearsal, Oral Reading
Before Reading
1. Preview the elements of the SOAPSTone strategy and the questions (page 211)
before you read the speech. You will be asked to annotate the text for one
specific element.
My Notes
Reading
2. Use the SOAPSTone elements to guide your analysis of the speech. Annotate for
your assigned element of SOAPSTone.

ABOUT THE AUTHOR

The Nobel Committee called Elie Wiesel a “messenger to mankind,”
stating that through his struggle to come to terms with “his own personal
experience of total humiliation and of the utter contempt for humanity
shown in Hitler’s death camps,” as well as his “practical work in the cause of
peace,” Wiesel had delivered a powerful message “of peace, atonement and
human dignity” to humanity.

Speech
from The Nobel Acceptance Speech
Delivered by Elie Wiesel
in Oslo on December 10, 1986
1 I am moved, deeply moved by your words, Chairman Aarvik. And it is with a
© 2014 College Board. All rights reserved.

profound sense of humility that I accept the honor—the highest there is—that you have
chosen to bestow upon me. I know your choice transcends my person.
2 Do I have the right to represent the multitudes who have perished? Do I have the
right to accept this great honor on their behalf? I do not. No one may speak for the
dead, no one may interpret their mutilated dreams and visions. And yet, I sense their
presence. I always do—and at this moment more than ever. The presence of my parents,
that of my little sister. The presence of my teachers, my friends, my companions …
3 This honor belongs to all the survivors and their children and, through us, to the KEY IDEAS AND DETAILS
Jewish people with whose destiny I have always identified. In paragraphs 2–5, Elie
Wiesel makes reference to
4 I remember: it happened yesterday, or eternities ago. A young Jewish boy or alludes to what central
discovered the Kingdom of Night. I remember his bewilderment, I remember his event? Why does he use
anguish. It all happened so fast. The ghetto. The deportation. The sealed cattle car. The fragments to evoke the
fiery altar upon which the history of our people and the future of mankind were meant memory?
to be sacrificed.

Unit 3 • The Challenge to Make a Difference 209

ACTIVITY 3.15
Never Forget, Never Again
continued

5 I remember he asked his father: “Can this be true? This is the twentieth century,
My Notes not the Middle Ages. Who would allow such crimes to be committed? How could the
world remain silent?”
6 And now the boy is turning to me. “Tell me,” he asks, “what have you done with my
future, what have you done with your life?” And I tell him that I have tried. That I have
tried to keep memory alive, that I have tried to fight those who would forget. Because if
we forget, we are guilty, we are accomplices.
7 And then I explain to him how naïve we were, that the world did know and remained
silent. And that is why I swore never to be silent whenever wherever human beings
KEY IDEAS AND DETAILS
endure suffering and humiliation. We must take sides. Neutrality helps the oppressor,
Closely examine paragraphs
never the victim. Silence encourages the tormentor, never the tormented. Sometimes we
6 and 7. What is Wiesel saying
about memory and silence?
must interfere. When human lives are endangered, when human dignity is in jeopardy,
national borders and sensitivities become irrelevant. Wherever men and women are
persecuted because of their race, religion, or political views, that place must—at that
moment—become the center of the universe.
8 There is so much injustice and suffering crying out for our attention: victims of
hunger, of racism and political persecution—in Chile, for instance, or in Ethiopia—
writers and poets, prisoners in so many lands governed by the Left and by the Right.
9 Human rights are being violated on every continent. More people are oppressed
than free. How can one not be sensitive to their plight? Human suffering anywhere
concerns men and women everywhere.
Literary Terms
A call to action occurs at the 10 There is so much to be done, there is so much that can be done. One person—a
end of an argumentative text. Raoul Wallenberg, an Albert Schweitzer, Martin Luther King, Jr.—one person of
The purpose is to make clear integrity, can make a difference, a difference of life and death. As long as one dissident
what the writer or speaker is in prison, our freedom will not be true. As long as one child is hungry, our life will
wants the audience to think be filled with anguish and shame. What all these victims need above all is to know that
or do (i.e., clarify what future they are not alone; that we are not forgetting them, that when their voices are stifled
action they should take now we shall lend them ours, that while their freedom depends on ours, the quality of our
that they have heard the freedom depends on theirs.
argument).
11 This is what I say to the young Jewish boy wondering what I have done with his

© 2014 College Board. All rights reserved.

years. It is in his name that I speak to you and that I express to you my deepest gratitude
as one who has emerged from the Kingdom of Night. We know that every moment is a
moment of grace, every hour an offering; not to share them would mean to betray them.
12 Our lives no longer belong to us alone; they belong to all those who need
us desperately.

After Reading
3. How is Wiesel’s last sentence a “call to action?”

210 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.15
continued

Introducing the Strategy: SOAPSTone My Notes

SOAPSTone stands for Speaker, Occasion, Audience, Purpose, Subject, and
Tone. It is both a reading and a writing tool for analyzing the relationship
between a writer, his or her purpose, and the target audience of the text.
SOAPSTone guides you in asking questions to analyze a text or to plan for
writing a composition.
• Speaker: The speaker is the voice that tells the story.
• Occasion: The occasion is the time and place of the story; it is the context that
prompted the writing.
• Audience: The audience is the person or persons to whom the piece is directed.
• Purpose: The purpose is the reason behind the text or what the writer wants the
audience to think as a result of reading the text.
• Subject: The subject is the focus of the text.
• Tone: Tone is the speaker’s attitude toward the subject.

4. Review your notes from reading the speech and take notes on analyzing the
argument in a SOAPSTone graphic organizer like the one below. Refer to the
Resources section of your book for a SOAPSTone graphic organizer that you
can copy and use for your analysis. The questions in the Analysis column below
should help guide your analysis of the speech.

Element Analysis Textual Evidence

Speaker Who is the speaker?

Occasion What event(s) or situation(s) prompted the creation

of this text?
© 2014 College Board. All rights reserved.

Audience Who is the intended audience?

Purpose What is the speaker’s claim?

What is the speaker’s reason for creating this text?
What is the speaker’s call to action?

Subject How does the speaker appeal to logos (i.e., how

does the speaker use facts, examples, statistics,
research, and logical reasoning for effect)?
How does the speaker use counterclaims or
concession and rebuttal?
How does the speaker appeal to pathos (emotion)?

Tone What is the speaker’s attitude toward the subject?

How does the speaker use connotative diction and/
or imagery to create tone?

Unit 3 • The Challenge to Make a Difference 211

ACTIVITY 3.15
Never Forget, Never Again
continued

Check Your Understanding

LEARNING STRATEGIES: In discussion groups, analyze and evaluate Wiesel’s argument:
Think-Pair-Share, Marking
the Text, Metacognitive • What is Wiesel’s motive for writing his speech? Is it social, commercial, for
Markers, Questioning the Text, public safety, or political? Provide textual evidence to support your response.
Rereading, Close Reading, • How effective are Wiesel’s appeals to logos (i.e., reasoning and evidence)?
Discussion Groups, Socratic Provide textual evidence to support your response.
Seminar, Drafting • How effective are Wiesel’s appeals to pathos? Provide textual evidence to
support your response.

My Notes Language and Writer’s Craft: Reviewing Clauses

A clause is a group of words with both a subject and verb. Common clauses include
adverbial and adjectival clauses.

Adverbial: An adverbial clause is a dependent clause that functions as an adverb.

It modifies another clause in the sentence. The writer can place the adverbial
clause in different parts of the sentence, depending on where it best adds to the
desired effect. An adverb clause begins with a subordinating conjunction (such as
if, when, although, because, as).

Example: “Experience is what you get when you didn’t get what you wanted.
wanted.”
(Randy Pausch, “The Last Lecture,” 2008)

Adjectival: An adjectival clause is a dependent clause that is used as an adjective

in a sentence. Since the adjectival clause modifies a noun, it cannot be moved
around. An adjectival clause generally begins with a relative pronoun (that,
( which,
who, whom, whose).

Example: “He who can no longer pause to wonder and stand rapt in awe is as good
as dead.” (Albert Einstein)

© 2014 College Board. All rights reserved.

Argumentative Writing Prompt: Think about what you learned in the first half of
the unit, and what you learned from the text in this activity. Why should students
continue to learn about the Holocaust? Draft a speech or a letter to convince the
school board that this is an important subject to study in school. Be sure to:
• Assert a clear claim and address a counterclaim.
• Support your claim by using evidence from texts you have read.
• Use subjunctive and conditional mood for effect, as well as adverbial and
adjectival clauses.

To support your writing, create a visual to clarify information, strengthen claims

and evidence, and/or to add interest. Then, rehearse and present an oral reading
of your speech or letter to a partner, displaying your visual for effect. Evaluate your
partner’s speech and visual to provide feedback relating to ideas, language, and
oral presentation.
As a last step, create an annotated bibliography (see page 149) that includes:
(a) a statement about the main argument(s) in the text and the connection to your
argument, and (b) a statement about the credibility of the source.

212 SpringBoard® English Language Arts Grade 8

 Students Taking Action ACTIVITY
3.16

Learning Targets
• Evaluate a variety of multimedia campaigns. LEARNING STRATEGIES:
Predicting, Marking the Text,
• Generate ideas for research in preparation for creating an original campaign. Summarizing, Brainstorming,
Graphic Organizer, Note-
Before Reading taking
1. What is a campaign? What is a multimedia campaign?

During Reading ACADEMIC VOCABULARY

2. Read the following text from DoSomething.org to predict what kinds of kids are Media is the plural of
featured and how they have made a difference. medium, which is a
means of expression or
communication. Media
Informational Text channels are specific types
of media outlets, such as
from

Do Something!
newspapers, television,
Internet, and radio.

A Handbook for Young Activists

My Notes
Listen up! You don’t have to be a rock star or the president or even have a driver’s
license to change the world. You can do something important right now—like, before
your head hits the pillow tonight—that can make a difference in someone’s life, change
something for the better, or fix an important problem.
Young people rocking change isn’t just possible; it’s happening every day. Like the
12-year-old who registered over 10,000 people to donate bone marrow for people with
cancer. Or the 7-year-old who taught other kids to swim. Or the 10-year-old who raised
$30 by selling lemonade—and it was enough to buy dog food at a shelter for one night.
If they can do it, so can you.
© 2014 College Board. All rights reserved.

▶ Facts About DoSomething.org in 2012

1. 2.4 million young people took action through our campaigns in 2012.
2. We have 1,666,208 members doing stuff to improve their communities and
the world.
3. Our 977,781 mobile subscribers take action and text us all about it.
4. We gave young people $240,000 in scholarships in 2012.
5. Our members collected 1,020,041 pairs of jeans for homeless youth through our
Teens for Jeans campaign.
6. Our members recycled over 1.2 million aluminum cans through our 50 Cans
campaign.
7. Our members donated 316,688 books to school libraries through our Epic
Book Drive.
8. 67,808 members stood up to bullying through our Bully Text campaign.

Unit 3 • The Challenge to Make a Difference 213

ACTIVITY 3.16
Students Taking Action
continued

During Reading
My Notes 3. Mark the text of the following campaign summaries to identify the what, why,
and how of each issue.
• What is the issue or problem the student wanted to do something about?
• Why did the student care about this issue?
• How did the student make a difference?

Student 1: Sarah Cronk State: IA Issue: Disability Rights

Sarah watched her older brother Charlie struggle to fit in during high school
because of his disabilities. He was depressed and anxious, until the captain of
the swim team invited him to join. Suddenly the cool kids welcomed him, and he
found a new group of friends. Inspired by Charlie, Sarah co-founded the first high
school-based inclusive cheerleading squad in the nation. Today, the Sparkle Effect
has generated 26 squads in 15 states and South Africa, encouraging a culture of
acceptance in every community.

Student 2: Danny Mendoza State: CA Issue: Foster Care

While in college, Danny learned that his 9-year-old cousin, Roger, was living in a
car. After lots of maneuvering Danny helped him move from the Honda to a house,
but was deeply disturbed by how little control Roger had over his own situation.
Danny took action and created Together We Rise, a youth-led organization
dedicated to running programs that not only bring a sense of normalcy and stability
to children in foster care, but also allow foster children to make their own choices.
Through programs like music lessons, mentoring, sports and athletics, résumé
building, and job readiness, Together We Rise provides the resources for foster
kids to prepare for success at age 18, when they are kicked out of the foster care
system and left to fend for themselves. Together, Danny and Together We Rise
have reached 3,000 foster care youth through these programs, providing a better
opportunity for long-term success.

Student 3: Jordan Coleman State: NJ Issue: Education

© 2014 College Board. All rights reserved.

Jordan was angry when he learned that fewer than half of African American boys
GRAMMAR USAGE graduate from high school. He’s an actor, so he decided to make a movie called
Commas Say It Loud (at age 13) to raise awareness about the importance of education. He
A comma after an introductory toured with the film to spread his message to young people in community centers
element in a sentence and schools around the country. He even got to speak at an education rally during
indicates a pause before the the Presidential Inauguration in 2009!
main part of the sentence.
Look at these examples. Student 5: Evan Ducker State: NY Issue: Discrimination
Introductory participial phrase: Evan was born with a large birthmark on his face. At age 14, he decided to educate
Inspired by Charlie, . . . the public about the medical and psychological issues facing kids born with these
Introductory adverbial kinds of birthmarks through his book, Buddy Booby’s Birthmark, and his annual
phrase: While in college, . . . International Buddy Booby’s Birthmark Read-Along for Tolerance and Awareness.
Introductory prepositional
phrase: At age 14, . . .
Look for introductory
elements like these as you
write, and use a comma to
punctuate them.

214 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.16
continued

After Reading
4. In the Student Notes section, summarize the kinds of kids that are featured and My Notes
how they have made a difference.
5. Form a personal response to connect to the text by answering these questions:
• To which student do you most relate? Why?
• Which student do you most respect? Why?

6. Create a web to brainstorm issues of community, national and global

significance that you are aware of and/or care about.
7. Choose a cause from the website dosomething.org to explore as a group.
Our Cause:

8. Have each person in your group focus on a different issue related to your cause.
For example, if your cause is “Animals,” you can have one person research
animal testing, another animal cruelty, and a third animal homelessness. (You
will find links to different issues under each cause.)

My Issue:
• Complete the first row of the graphic organizer on the next page by taking
notes on the what, why, and how of your issue. Add your own ideas as well as
the ones you find on the website.
• Present your issue to your group members. As group members present their
issues, take notes in the graphic organizer.
© 2014 College Board. All rights reserved.

Unit 3 • The Challenge to Make a Difference 215

ACTIVITY 3.16
Students Taking Action
continued

9. Reflect on your research: Is there an issue that stands out to your group as a
potential subject for your multimedia campaign? If so, where can you find more
information about it?

“Do Something” Graphic Organizer

WHAT is the issue or problem? WHY should you care? HOW can you make a difference?
List informative and compelling Record appeals to logos, pathos, Record a clear and reasonable call to
facts. and ethos. action.

Issue: ___________________

Issue: ___________________

Issue: ___________________

© 2014 College Board. All rights reserved.

Our cause:

216 SpringBoard® English Language Arts Grade 8

 From Vision to Action ACTIVITY
3.17

Learning Targets
• Analyze informational texts about efforts that have made a difference on a LEARNING STRATEGIES:
Metacognitive Markers,
global scale.
Diffusing, Rereading,
• Create a webpage to represent a campaign to make a difference. Summarizing, Discussion
Groups, Graphic Organizer,
Before Reading Drafting
1. What is the meaning of the slogan “Think Globally, Act Locally”?

My Notes
During Reading
2. As you read the following texts, use metacognitive markers to indicate your
thinking and to guide future discussion:
? = questions
! = reactions/comments
* = connections

Informational Text

Wangari Maathai
Wangari Maathai rose to prominence fighting
for those most easily marginalized in Africa -
poor women.

1 The first African woman to win the Nobel Peace Prize (2004)
was praised by the awarding committee as “a source of inspiration
© 2014 College Board. All rights reserved.

for everyone in Africa fighting for sustainable development, democracy

and peace.”
2 A pioneering academic, her role as an environmental campaigner
began after she planted some trees in her back garden.
3 This inspired her in 1977 to form an organization—primarily of
women—known as the Green Belt Movement aiming to curtail the
devastating effects of deforestation and desertification.
4 Her desire was to produce sustainable wood for fuel use as well as
combating soil erosion.
5 Her campaign to mobilize poor women to plant some 30 million
trees has been copied by other countries.
6 Speaking as recently as Wednesday on the BBC’s Africa Live
program, she said her tree planting campaign was not at all popular
when it first began.

Unit 3 • The Challenge to Make a Difference 217

ACTIVITY 3.17
From Vision to Action
continued

7 “It took me a lot of days and nights to convince people that women could improve
My Notes their environment without much technology or without much financial resources.”
8 The Green Belt Movement went on to campaign on education, nutrition, and other
issues important to women.

Political role
9 Mrs. Maathai has been arrested several times for campaigning against deforestation
in Africa.
10 In the late 1980s, she became a prominent opponent of a skyscraper planned for the
middle of the Kenyan capital’s main park—Uhuru Park.
KEY IDEAS AND DETAILS
11 She was vilified by Kenyan President Daniel arap Moi’s government but succeeded
What were some of the
obstacles Wangari Maathai in thwarting the plans.
struggled against in creating 12 More recently, she evolved into a leading campaigner on social matters.
and campaigning for the Green
Belt Movement? 13 Once was beaten unconscious by heavy-handed police. On another occasion she
led a demonstration of naked women.
KEY IDEAS AND DETAILS 14 In 1997, she ran for president against Mr. Moi but made little impact.
Why do you think the Nobel
Peace Prize committee praised
Wangari Maathai for thinking
Esteem
globally and acting locally? 15 But in elections in 2002, she was elected as MP with 98% of the votes as part of an
opposition coalition which swept to power after Mr. Moi stepped down.
16 She was appointed as a deputy environment minister in 2003.

17 Mrs. Maathai says she usually uses a biblical analogy of creation to stress the
importance of the environment.
18 “God created the planet from Monday to Friday. On Saturday he created human
beings.
19 “The truth of the matter is … if man was created on Tuesday, I usually say, he

© 2014 College Board. All rights reserved.

would have been dead on Wednesday, because there would not have been the essential
elements that he needs to survive,” she told the BBC.
20 The Nobel Peace Prize committee praised her for taking “a holistic approach to
sustainable development that embraces democracy, human rights and women’s rights in
particular.”
21 She thinks globally and acts locally, they said.

22 She was born in 1940 and has three children.

23 Her former husband, whom she divorced in the 1980s, was said to have remarked
that she was “too educated, too strong, too successful, too stubborn and too hard to
control.”

218 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.17
continued

Informational Text
My Notes

About Freerice.com
Freerice is a non-profit website that is owned by and supports the United Nations World
Food Programme. Freerice has two goals:
• Provide education to everyone for free.
• Help end world hunger by providing
rice to hungry people for free.
Whether you are CEO of a large
corporation or a street child in a poor
country, improving your education can
improve your life. It is a great investment
in yourself.
Perhaps even greater is the investment
your donated rice makes in hungry
human beings, enabling them to function
and be productive. Somewhere in the
world, a person is eating rice that you
helped provide.

Informational Text

Free Rice Online Quiz Game

© 2014 College Board. All rights reserved.

Freerice is an online internet game that donates 20 grains of rice to the World Food
Programme (WFP) for every word that is correctly defined. WFP, the United Nations
frontline organization fighting hunger, distributes the rice to the hungry. WFP uses
the donations from the site to purchase rice locally, both feeding people in need and
stimulating local economies.
Already, the site has raised enough rice to feed over 1.5 million people for a day. The game
has been embraced by young and old alike, proving to be an excellent tool for prepping for
the SATs or to brush up on vocabulary words. Teachers have been using the game to teach
both vocabulary and the value of helping others in need.

After Reading
3. Wangari Maathai and Freerice.com each made a difference on a global scale
by organizing their goals around a specific mission and taking action. Use the
chart on the next page to evaluate different elements from the homepages of
their websites.

Unit 3 • The Challenge to Make a Difference 219

ACTIVITY 3.17
From Vision to Action
continued

My comments: Wangari Maathai World Food Programme

Organization Name The Green Belt Movement World Food Programme

Freerice

Logo

Slogan

Mission Statement

© 2014 College Board. All rights reserved.

Call to Action

Check Your Understanding

Draft a website homepage for the issue you researched in the previous activity. Use
campaign features (organization name, logo, slogan, mission statement) for effect,
and be sure to include a clear and reasonable call to action.

220 SpringBoard® English Language Arts Grade 8

 Examining Media Campaigns ACTIVITY
3.18

Learning Targets
• Identify and explain how specific media types appeal to different target LEARNING STRATEGIES:
Graphic Organizer, Note-
audiences.
taking, Discussion Groups,
• Evaluate multimedia campaigns. Sketching
• Sketch a visual that shows how to use persuasive appeals in different types of
media to convince a target audience to take action.

Before Reading ACADEMIC VOCABULARY

A target audience is the
1. Brainstorm types of media you could use to raise awareness and encourage
specific audience a writer
action about an issue of national or global significance.
or speaker is trying to
convince. The audience
is often defined by age,
gender, education, interests,
2. What is meant by a target audience? How does audience affect how an experiences, and so on.
argument is developed and presented?

During Reading
My Notes
3. As you read the following informational text, mark the text to highlight key
information about public service announcements (PSAs).

Informational Text

Public Service Announcements

Broadcast media—radio and television—are required by the Federal Communications
Commission (FCC) to serve “in the public interest.” Most stations use PSAs as one
of the ways they meet this requirement. While they aren’t required to donate a fixed
© 2014 College Board. All rights reserved.

percentage of air time per day to PSAs, stations do have to state in their licensing and
renewal applications how much air time they plan to devote to PSAs. Most stations
donate about a third of their commercial spots to non-commercial causes; in other
words, if a station has 18 minutes of commercials in a given hour, six minutes of that
will probably be devoted to PSAs. KEY IDEAS AND DETAILS
Public service announcements, or PSAs, are short messages produced on film, How do you know
videotape, DVD, CD, audiotape, or as a computer file and given to radio and television that public service
stations. Generally, PSAs are sent as ready-to-air audio or video tapes, although radio announcements are not
stations sometimes prefer a script that their announcers can read live on the air. intended for commercial
purposes?
Since World War II, public service announcements (PSAs) have informed and
attempted to persuade the public about a variety of issues.
If people find an ad or PSA entertaining enough, they might talk about it with a
friend or share it online. When this happens, many more people will receive the
intended message.

Unit 3 • The Challenge to Make a Difference 221

ACTIVITY 3.18
Examining Media Campaigns
continued

4. Research examples of public service announcements and campaigns. You

ACADEMIC VOCABULARY might use the Internet, listen to radio, watch television, or look at newpaper
To evaluate means to make or magazine ads to find examples. Find at least three examples that appeal to
judgments based on criteria and you, and evaluate them for the clarity of their messages, use of visuals and
standards to determine the value multimedia elements, and effectiveness.
of something.

Description of PSA Clarity of Message Use of Visuals / Effectiveness

Multimedia Elements

Name:

Purpose:

Audience:

Content:

Name:

Purpose:

Audience:

Content:

Name:

Purpose:

© 2014 College Board. All rights reserved.

Audience:

Content:

5. Analyze the campaigns’ use of persuasive appeals for effect. How did each
My Notes campaign use pathos, ethos, and logos to convince the target audience to take
action? Give examples from your research.
Pathos:

Ethos:

Logos:

222 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.18
continued

6. Of the different media and appeals used, which would you use in your own
multimedia campaign? Who is your target audience? Which type of media would My Notes
appeal to them? What type of ads would you create (magazine, newspaper,
poster, billboard, web banner), and where would you put them in order to reach
your target audience?

Check Your Understanding

Choose one of the public service campaigns you researched and identify the
various types of media it uses to get the word out. For each type of media used in
the campaign, analyze the use of persuasive appeals for effect. Do the various ads
in this campaign appeal to pathos, ethos, logos, or a combination of these? Are
these appeals effective?

Public Service Announcement Campaign:

Sponsor Organization:

Volunteer Agency:

Type of Media Target Audience Types of Appeals Used /

Effectiveness
© 2014 College Board. All rights reserved.

7. Revisit the target audiences and types of media you are considering for your
campaign. How can you use persuasive appeals in different types of media to
convince your target audiences to take action? Sketch a visual to show your
thinking. Think about these guidelines for creating a PSA:
• Aim for a sticky slogan.
• Use one powerful image.
• Use one shocking statistic.
• Search for images by idea or create your own images.
• Include a “Works Cited” or “Credits” slide for images as well as content.
Please document with this text: “This image is used under a CC license from
[insert URL back to image].

Unit 3 • The Challenge to Make a Difference 223

ACTIVITY Raising Awareness
3.19

Learning Target
LEARNING STRATEGIES: • Evaluate the effectiveness of arguments in print and non-print texts.
Diffusing, Graphic Organizer,
Note-taking, Collaborative
Discussion Before Reading
1. Celebrities often champion particular causes in order to raise money,
awareness, or both. Do you think celebrities can inspire others to take action
about an issue? Which celebrities do you associate with issues of national or
global significance?
My Notes

2. In the following article, actor George Clooney and his co-author present an
argument relating to the crisis in Sudan. What do you know about George
Clooney? What do you know about this crisis?
KEY IDEAS AND DETAILS
What can you predict about
this article based on the title
and the byline? Does the title
appeal to logos, pathos, or During Reading
ethos? Explain. 3. As you read, analyze key elements of the argument.

KEY IDEAS AND DETAILS Article

How do the authors open the
argument?
Famine as
a Weapon:
It’s Time to Stop
Starvation in Sudan from Time
by George Clooney and John Prendergast

© 2014 College Board. All rights reserved.

1 “We left our homes with not even a cup like this one,” recounted the woman from
a Sudanese refugee camp in Ethiopia last month, gesturing toward a red plastic cup
GRAMMAR USAGE lying in the dirt next to her foot. Asma, a name we are using for her to help ensure
Verb Tenses her safety, said the Sudanese government’s Antonov planes bombed her village and
The present progressive verb government soldiers, supported by ethnic militia, chased and killed civilians. They did
tense describes an ongoing not spare children and pregnant women, she said angrily. “It’s all because we are black,”
action that is happening at Asma told our colleagues in the Satellite Sentinel Project. She said that the militias were
the same time the statement shouting, “Grab the slaves!” Her subsequent weeklong journey with 50 other women to
is written. This tense is the refugee camp was harrowing. “Many of the women had to leave their babies in their
formed by using am, is, or are cribs.”
with the verb form ending in
-ing. For example, look at the 2 Incredibly, Asma and the tens of thousands of Sudanese who have run for their
last sentence in paragraph lives across international borders are the lucky ones. Those left behind in the war zones
2. “But two war crimes … are within Sudan—places like Blue Nile, South Kordofan, Abyei and Darfur—are subject
leading to the biggest killer of to a regime whose war tactics break every international law on the books. But two war
all: famine.” The words “are crimes in particular—aerial bombing against civilians and blocking humanitarian
leading” show that the action aid—are leading to the biggest killer of all: famine.
was happening when the 3 The strategy of using starvation as a weapon or means of social control is one of
writer wrote this article.
the oldest and most effective tactics of war. Around 400 B.C., the Spartans ended the

224 SpringBoard® English Language Arts Grade 8

 ACTIVITY 3.19
continued

Peloponnesian wars by starving the Greeks into submission in their siege of Athens.
Two centuries later, after Rome defeated Hannibal’s army, Roman troops plowed My Notes
Carthage with salt to render it infertile.
4 You’d think by the second decade of 21st century—with the development of
international accountability and prevention mechanisms—that the use of starvation
would have disappeared from the arsenal of war weapons because it bears too high a
cost for the perpetrator. The people of Sudan would beg to differ.
5 These war tactics are a backdrop to the renewed threat of war between Sudan in
the north and South Sudan, which became independent of the Khartoum regime in July
after an internationally supported referendum on self-determination. If that conflict
explodes, it would easily become the largest conventional war on the face of the earth.
After the extraordinary success of South Sudan’s peaceful birth four months ago, the
KEY IDEAS AND DETAILS
Sudan that was left behind has burned as the Khartoum regime has lit every dry bush
What is the claim?
it can find to see what catches fire, an extension of the divide-and-destroy policy it
has successfully pursued to maintain power since a coup in 1989. The US and broader
international community should use the cross-border bombing and threat of starvation KEY IDEAS AND DETAILS
as a vehicle to re-energize peace and protection efforts. Summarize the three major
parts of authors’ plan to
6 First, famine must be prevented. Counterintuitively, sending aid into Sudan end the destruction of life
by any means necessary—backed by heavy international pressure for humanitarian in Sudan.
corridors—might be the best way to compel the regime to lift its aid embargo. That How have the authors
strategy worked in the late 1980s. A cross-border operation from Kenya and Uganda depended on logical
embarrassed a previous Sudanese government and eventually it agreed to a UN plan reasoning and relevant
that allowed aid to flow. Doing the same today from willing bordering countries is evidence (logos)?
necessary to prevent full-scale famine until Khartoum allows full humanitarian access.
In the meantime, the regime cannot be allowed to block aid access to Darfur—the
KEY IDEAS AND DETAILS
largest aid operation in the world—as “punishment” for aid flowing into the border
How do the authors
areas. conclude their argument?
7 Second, aerial bombing must be stopped. At the height of the Darfur killings,
the UN Security Council imposed a ban on offensive military flights by the Sudanese
government that was never enforced. Now that Khartoum has bombed a neighboring GRAMMAR USAGE
country, and a refugee camp at that, the threats to international peace and security that
© 2014 College Board. All rights reserved.

Punctuating with Commas

the UN was created to counter would justify expanding that ban on offensive flights to
A comma after an
other parts of Sudan bordering South Sudan. This time, though, mechanisms must be
introductory element in a
created to enforce the ban. sentence indicates a pause
8 Third, peace efforts must be enhanced. Two parallel high-profile diplomatic before the main part of
initiatives—building on existing processes—should focus on a comprehensive peace the sentence. Notice the
deal with all the rebelling regions inside Sudan on the one hand, and lasting political comma after the transitional
and security arrangements between Sudan and South Sudan on the other. words “First,” “Second,”
and “Third” in paragraphs
9 Without robust international action, the default option is protracted war both 6, 7, and 8. Also look at the
within Sudan and between Sudan and South Sudan. From her new home in the refugee introductory phrase at the
camp, Asma embodied this reality. “The government attacked their own people. beginning of paragraph 9:
If we were not attacked, we would be at home right now. That was wrong. We have to “Without robust
defend ourselves and get what is ours.” international action, . . .”
and notice the comma that
The authors are co-founders of the Satellite Sentinel Project (SSP), a partnership follows it.
between the Enough Project, Harvard Humanitarian Initiative and DigitalGlobe. The SSP
has documented evidence that forces aligned with the government of Sudan razed five Check your writing for similar
towns and villages and bombarded civilians in the border areas of Abyei, South Kordofan introductory elements, and
and Blue Nile state. use commas to punctuate
them correctly.

Unit 3 • The Challenge to Make a Difference 225

ACTIVITY 3.19
Raising Awareness
continued

After Reading
My Notes 4. Who is the article’s target audience? How do you know?

5. Based on the target audience, use your analysis to evaluate each element of the
authors’ argument.

6. Overall, is the argument effective? Why or why not?

7. Find an online site (probably an “.org”) that advocates help for Sudanese
refugees. For instance: http://actforsudan.org/2011/12/10/its-time-to-stop-
starvation-in-sudan/. Use the organizer below to take notes on the website you
find and the elements of a multimedia campaign to create change.

Logos Pathos
Facts used to help me understand Images used to create emotion
the issue. and to convince me to act.

© 2014 College Board. All rights reserved.

Check Your Understanding
How does the text use ethos to raise awareness of the crisis in Sudan? How can
you use ethos in your own multimedia campaign?

226 SpringBoard® English Language Arts Grade 8

 Presenting a Multimedia Campaign EMBEDDED
ASSESSMENT 2

Assignment
Develop a multimedia presentation that informs your peers about an issue My Notes
of national or global significance and convinces them to take action. Work
collaboratively to conduct and synthesize research into an engaging campaign that
challenges your audience to make a difference.

Planning and Researching: Collaborate with a group of peers to select and

gather information on an issue for your campaign.
• Which of the issues from the list your class has developed are of interest to you?
• Where could you look online to find out about more issues of national or global
significance?
• How will you evaluate the credibility and timeliness of sources?
• How will you investigate what others are doing about your issue in order to
evaluate possible solutions to incorporate into your call to action?
• How will you give credit for information found in your sources and prepare a
Works Cited page or an Annotated Bibliography?

Drafting: Collaborate with your group to design a multimedia campaign.

• How will you use rhetorical appeals (pathos, logos, and ethos) to persuade your
audience to care?
• How can you raise awareness by informing your peers about compelling facts
related to your issue?
• What will be your group’s name, mission statement, logo and/or slogan?
• What media channels will you use in your presentation, such as presentation
tools, audio/visual components, social media, or others?
• How will you organize talking points to inform your audience about the issue,
convince them to care, and provide a call to action (what, why, and how)?
© 2014 College Board. All rights reserved.

Rehearsing and Presenting: Use effective speaking and listening to

prepare, present, and observe.
• How can you use feedback from a dress rehearsal to improve your presentation?
• How will you use the scoring guide to provide feedback on your own and others’
presentations?
• How will you listen and take notes on the what, why, and how of each
multimedia presentation? Technology TIP:

Using a presentation tool

Reflection such as Prezi or PowerPoint
After completing this Embedded Assessment, think about how you went about can help organize your
accomplishing this task, and respond to the following: presentation, but be
• Which presentations were effective in convincing you to care about the issue, careful to focus on your
and why? audience instead of the
screen. Using note cards
• What were the most effective media channels you observed, and what were the can help you maintain eye
strengths of each? contact instead of reading
directly from your slides.

Unit 3 • The Challenge to Make a Difference 227

EMBEDDED Presenting a Multimedia Campaign
ASSESSMENT 2

SCORING GUIDE
Scoring
Exemplary Proficient Emerging Incomplete
Criteria

Ideas The presentation The presentation The presentation The presentation

• supports a clear • supports a claim • has an unclear • has no claim or
claim and addresses and addresses or unsupported counterclaim, and/
counterclaim(s) with counterclaim(s) with claim, addresses or shows little or no
relevant reasons sufficient reasons counterclaim(s) evidence of research
and evidence from a and evidence from ineffectively, and/ • does not use
variety of accurate reliable sources or uses research persuasive appeals
sources • uses persuasive from insufficient or • lacks multimedia or
• uses persuasive appeals (logos, unreliable sources campaign features.
appeals effectively pathos, and ethos) • uses persuasive
• integrates engaging • includes adequate appeals unevenly
multimedia and multimedia and • includes inadequate
campaign features to campaign features to multimedia and
clarify ideas. clarify ideas. campaign features.

Structure The presentation The presentation The presentation The presentation

• demonstrates • demonstrates • demonstrates • demonstrates a
extensive evidence adequate evidence insufficient or uneven failure to collaborate
of collaboration and of collaboration and collaboration and/or or prepare
preparation preparation preparation • lacks an introduction
• has an introduction • has an introduction • has a weak • has little or no
that engages and that informs and introduction evidence of
informs the audience orients the audience • uses flawed or sequencing or
• sequences ideas and • sequences ideas and illogical sequencing; transitions
quotations smoothly embeds quotations quotations seem • lacks a conclusion.
with transitions with transitions disconnected
• concludes with a • includes a conclusion • includes a weak or
clear call to action. with a call to action. partial conclusion.

© 2014 College Board. All rights reserved.

Use of The speaker The speaker The speaker The speaker
Language • communicates to a • communicates to a • communicates to • does not
target audience with target audience with a target audience communicate clearly;
a persuasive tone appropriate tone and inappropriately; may uses vague or
and precise diction some precise diction use basic diction confusing diction
• demonstrates • demonstrates • demonstrates • has frequent errors
command of the adequate command partial command in standard English
conventions of of the conventions of the conventions grammar, usage, and
standard English of standard English of standard English language
grammar, usage, and grammar, usage, and grammar, usage, and • lacks an annotated
language (including language (including language bibliography.
correct mood/voice) correct mood/voice) • begins to cite and/
• cites and evaluates • cites and evaluates or evaluate sources
sources thoroughly sources in an in an annotated
in an annotated annotated bibliography; may
bibliography. bibliography. use improper format.

228 SpringBoard® English Language Arts Grade 8

 UNIT

The Challenge
of Comedy
Visual Prompt: What makes people laugh?

Unit Overview
If laughter is truly the best medicine, then a
study of challenges would not be complete
© 2014 College Board. All rights reserved.

without a close examination of the unique

elements of comedy. Overcoming challenges
is often easier when we are able to look at the
humorous side of life. However, finding humor
is not always easy; it can be a challenge in
itself. In this unit, you will learn how authors
create humor and how they use humor to
reveal a universal truth (theme).

Unit 4 • The Challenge of Comedy 229

UNIT The Challenge of Comedy
4

GOALS: Contents
• To analyze how a variety
Activities
of authors create humor in
print and non-print texts. 4.1 Previewing the Unit ................................................................ 232
• To analyze how humor is
used to reveal a universal 4.2 Understanding the Complexity of Humor ................................ 233
truth (theme). Essay: “Made You Laugh,” by Marc Tyler Nobleman
• To write a well-developed
4.3 Classifying Comedy .................................................................241
analysis of a humorous text.
Introducing the Strategy: RAFT
• To analyze and perform a
scene from a Shakespearean 4.4 Humorous Anecdotes ...............................................................245
comedy.
Essay: from Brothers, by Jon Scieszka
• To understand verbals and
how they are used in writing.
Introducing the Strategy: TWIST
4.5 Finding Truth in Comedy ..........................................................252
Essay: “I’ve got a few pet peeves about sea creatures,”
ACADEMIC VOCABULARY by Dave Barry
juxtaposition
derision 4.6 Satirical Humor ........................................................................257
denounce Online Article: “Underfunded Schools Forced To Cut Past Tense
caricature
From Language Programs,” from The Onion
4.7 Elements of Humor: Comic Characters and Caricatures ...........261
Literary Terms Short Story: “The Open Window,” by Saki
persona 4.8 Elements of Humor: Comic Situations ......................................267
satire
irony
Novel: “A Day’s Work” from The Adventures of Tom Sawyer,
dialect by Mark Twain
hyperbole
yarn 4.9 Elements of Humor: Hyperbole ................................................274

© 2014 College Board. All rights reserved.

alliteration Poetry: “They Have Yarns,” by Carl Sandburg
comedy Poetry: “Mooses,” by Ted Hughes
performance
4.10 Elements of Humor: Comic Wordplay .......................................279
Poetry: “Is Traffic Jam Delectable?” by Jack Prelutsky
*Comedic Skit: “Who’s on First?” by Bud Abbott
and Lou Costello (available online)
4.11 Planning and Revising an Analysis of a Humorous Text .......... 282
Student Expository Essay: “The Power of Pets,” by Isha Sharma
Embedded Assessment 1: Writing an Analysis of a Humorous Text ... 288

230 SpringBoard® English Language Arts Grade 8

 Language and Writer’s
4.12 Previewing Embedded Assessment 2 ...................................... 290 Craft
• Verbals (4.2)
4.13 Creating Context for Shakespearean Comedy ......................... 292
• Using Verbals (4.4)
4.14 Insulting Language ................................................................. 295
4.15 Close Reading of a Scene ........................................................ 297
Drama: Excerpt from A Midsummer Night’s Dream,
by William Shakespeare
4.16 Acting Companies and Collaborative Close Reading ............... 299
*Drama: Excerpts from A Midsummer Night’s Dream,
by William Shakespeare
4.17 Facing the Challenge of Performance ...................................... 302
Informational Text: Adapted from “Fear Busters—10 Tips to
Overcome Stage Fright,” by Gary Guwe
4.18 Working with Acting Companies and Focus Groups ................ 305
*Drama: Excerpts from A Midsummer Night’s Dream,
by William Shakespeare
4.19 Same Text, Different Text ........................................................ 309
*Film: A Midsummer Night’s Dream
*Drama: Excerpts from A Midsummer Night’s Dream,
by William Shakespeare
4.20 Dress Rehearsal .......................................................................312
Embedded Assessment 2: Performing Shakespearean Comedy ......313
© 2014 College Board. All rights reserved.

*Texts not included in these materials.

Unit 4 • The Challenge of Comedy 231

ACTIVITY Previewing the Unit
4.1

Learning Targets
LEARNING STRATEGIES: • Preview the big ideas in the unit and make predictions about the topics of study.
Think-Pair-Share, QHT, Close
Reading, Marking the Text, • Analyze the skills and knowledge required to completed Embedded Assessment 1
Paraphrasing, Graphic Organizer successfully.

Making Connections
In the final unit you will encounter the challenging task of appreciating humorous
My Notes texts and Shakespearean texts. You will use all your collaborative, speaking and
listening, reading, and writing skills as you examine the ways in which authors
create humor.

Essential Questions
Based on your current knowledge, respond to the following Essential Questions:
1. How do writers and speakers use humor to convey truth?

2. What makes an effective performance of a Shakespearean comedy?

Developing Vocabulary
Use a QHT chart to sort the terms on the Contents page. Remember, one academic
goal is to move all words to the “T” column by the end of the unit.

Unpacking Embedded Assessment 1

Closely read the assignment for Embedded Assessment 1.
Write an essay that explains how an author creates humor for effect and uses it
to communicate a universal truth.

Then, find the Scoring Guide and work with your class to paraphrase the

© 2014 College Board. All rights reserved.

expectations. Create a graphic organizer to use as a visual reminder of the required
concepts (what you need to know) and skills (what you need to do).
After each activity, use this graphic to guide reflection about what you have
learned and what you still need to learn in order to be successful in the
Embedded Assessment.

INDEPENDENT
READING LINK
For your outside reading
for this unit, choose texts
by writers whom you find
humorous. You might look for
humorous short stories as well
as narrative essays and poetry.

232 SpringBoard® English Language Arts Grade 8

 Understanding the ACTIVITY

Complexity of Humor 4.2

Learning Targets
• Write an objective summary of an informational text. LEARNING STRATEGIES:
Skimming/Scanning,
• Use precise diction to explain a personal definition of humor. Predicting, Close Reading,
Marking the Text,
Before Reading Summarizing, Revisiting Prior
Work, Discussion Groups
1. Quickwrite: What makes you laugh? Describe your sense of humor.

2. Skim and scan the title and headings (text features) of the following essay.
My Notes
Predict what kind of information you will learn from the text, and write your
predictions next to the headings in the My Notes section.

During Reading
3. As you read, mark the text to indicate key information, and then annotate the
text by summarizing the main idea of each section.

ABOUT THE AUTHOR

Marc Tyler Nobleman (b. 1972) has written more than 70 books. His current
writing interest is picture books for readers of all ages. He is also a cartoonist
whose work has been published in numerous well-known publications,
including The Wall Street Journal, Forbes, The Saturday Evening Post,Post, and
New York Daily News.

Essay
© 2014 College Board. All rights reserved.

by Marc Tyler Nobleman

1 Would you like to know a language everyone in the world

understands? You already do—because you laugh. Any two people
from vastly different cultures who don’t speak a word of the
other’s language still know exactly what is meant when the other
person laughs.
2 Think of laughter as the unofficial language of Earth. Yet how
much do any of us really understand about humor?

Unit 4 • The Challenge of Comedy 233

 ACTIVITY 4.2
Understanding the
continued Complexity of Humor
On the Laugh Track
My Notes 3 What makes things funny? READ asked John Ficarra, the editor of MAD magazine.
After all, he should know. Here’s what he said: “Monkeys. They’re unbeatable. For
example, show a photo of a dentist—not funny. Show a photo of a dentist with a monkey
in his chair, and it’s comedy gold. Try this theory out on a few of your family photos, and
you’ll see.” OK, so monkeys are funny. What else? How about this?
4 Two hunters were in the woods, when one collapsed. He didn’t seem to be
breathing. The other called the emergency number and said, “My friend is dead! What
can I do?” The operator said, “Calm down, I can help. First, let’s make sure he’s dead.”
KEY IDEAS AND DETAILS After a second of silence on the hunter’s end, the operator heard a gunshot. The hunter
Why does this article discuss came back on the phone and said, “OK, now what?”
the scientific nature of laughter? 5 If you laughed, you’re not alone. In the year 2001, that joke was voted the funniest
in the world as part of a project called LaughLab. Psychologist Richard Wiseman’s
KEY IDEAS AND DETAILS goal was to determine what makes people laugh and what is found to be funny among
Why does laughter seem men and women, older and younger people, and people from different countries. His
to qualify as a biological research team tested people in person and asked others to submit opinions online using
function? What might be the a “Giggleometer,” which ranked jokes on a scale of 1–5. More than 40,000 jokes were
biological function of laughter? tested.
6 You may be saying to yourself, “Studying jokes? Is that science?” But plenty of
KEY IDEAS AND DETAILS smart people say yes. Laughter is a biological function. It has a certain rhythm; laughter
Why is this section called syllables build, then trail off, and they come out in a repetitive, not random, sequence.
“Serious Stuff”? What is For example, “ha-ha-ho-ho-he” is typical, but “ha-ho-ha-ho-ha” or “he-ho-he” just
serious about comedy? doesn’t happen.
7 Babies begin to laugh instinctively when they’re about four months old, perhaps
to form a connection with parents. Those born blind and deaf also laugh, so laughter is
GRAMMAR USAGE not dependent on sight and hearing. Other animals, notably chimps, exhibit laugh-like
Subject-Verb Agreement behavior when playing with one another. Even rats, when tickled, make high-pitched
A verb form must agree in squeals that can be interpreted as laughter. (As you might guess, only a dedicated few
number (singular or plural) know this firsthand.)
with its subject. When the
Comedy Is Serious Stuff

© 2014 College Board. All rights reserved.

subject is plural, the verb of
the sentence must also be 8 Comics know that the same jokes are not funny to everyone everywhere. Ed
plural. For example: Hiestand, a writer for comedy great Johnny Carson, told READ, “Everyone who writes
Singular: “His comedy is comedy needs to know the audience. On the Carson show, everybody would laugh
funny . . .” on a Friday night. Nobody would laugh on a Monday.” Even within one state or town
or family, senses of humor are as varied as the people are. Professional comics do not
Plural: “Comedians have their
assume a 10 p.m. audience will like a joke because a 7 p.m. audience did.
own theories . . .”
The words each, each one, 9 Comedians who test jokes for a living say it’s hit or miss. “It’s a tough gig, and you
either, neither, everyone, have to have a large threshold for pain,” said stand-up Jay Nog. Performers whose jokes
everybody, anybody, anyone, get a two-second laugh consider that a significant accomplishment.
nobody, somebody, someone, 10 Timing is critical. Starting stand-up Zubair Simonson said he’s learning the hard
and no one are singular way that “good timing can cause a weak joke to soar, while poor timing can cause
subjects and thus require a
a strong joke to falter.” Authors and film actors do not often get immediate public
singular verb form. Do not
feedback. But comics do.
be confused by words that
appear between the subject 11 What keeps the funny guys going? The laughs and after-effects. “The best humor
and the verb. For example: has some sort of layer to it; it makes a statement of some kind or comment,” said Margy
“Everyone who writes comedy Yuspa, a director at Comedy Central. “An example is [Dave] Chappelle. His comedy is
needs to know the audience.” funny on the surface and also often comments on race or social issues.”

234 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.2
continued

Funny You Said That

12 Comedians have their own theories about humor. “What makes us laugh is a My Notes
surprise change in perspective that connects an unknown with a known idea in a
unique manner,” said Ronald P. Culberson, a humorist at FUNsulting.com. “For
instance, a three-legged dog walks into an Old West saloon and says, “I’m looking for
the man who shot my paw.”
13 Ask an average person why humans laugh, and he or she would probably say,
“Because something was funny.” But comics need to know what gives the giggles; their
livelihood depends on it.
14 Comedian Anthony DeVito told READ that “people tend to laugh at things that
reinforce what they already believe. Comedy tells them they’re right.”
15 Gary Gulman, a finalist in Last Comic Standing, a reality TV show and comedy
competition, gave specifics. “Sometimes it’s a keen observation about something you ACADEMIC VOCABULARY
thought you lived through. Sometimes it’s a juxtaposition of words. Sometimes it’s a Juxtaposition, a technique
gesture or a sound. An encyclopedia couldn’t do this question justice.” used by artists and writers,
places normally unassociated
What Are You Laughing At? ideas, words, and phrases
next to one another for effect
16 Yet laughter is not always a planned response to a joke. One study found that
(e.g., surprise or wit).
80 percent of the time, we laugh at something that just happens. People often laugh just
because someone else does. Like a yawn, a laugh is contagious. That’s why some sit-
coms use laugh tracks.
17 Laughter is also social, a way to bond with others. After all, how often do you laugh
alone? When two or more people laugh at the same thing, it is as if nature reminds
them of what they have in common.
18 Behavioral neuroscientist Robert R. Provine conducted a 10-year experiment
in which he eavesdropped on 2,000 conversations in malls, at parties, and on city
sidewalks. He found that the greatest guffaws did not follow intentionally funny
statements; people laughed hardest at everyday comments that seemed funny only in a
certain social context.
© 2014 College Board. All rights reserved.

19 “Do you have a rubber band?” is not in and of itself humorous, but it is if it’s said in KEY IDEAS AND DETAILS
response to “I like Amelia so much. I wish I could get her attention.” Why are comedians most
interested in figuring out
Theories of Funniness what makes people laugh
20 There are three main theories about humor. and why?
21 Release theory—Humor gives a break from tension. In a horror movie, as a
character creeps through a dark house (often idiotically) to follow an eerie noise, he KEY IDEAS AND DETAILS
might open a door to find a cat playing with a squeeze toy. The audience laughs in relief. Why is unplanned humor
Humor also lets us deal with unpleasant or forbidden issues, such as death and violence. often funnier than planned
People are often more comfortable laughing at something shocking said by someone humor?
else, though they would never say it themselves. Comedian Keenen Ivory Wayans
once said, “Comedy is the flip side of pain. The worst things that happen to you are
hysterical—in retrospect. But a comedian doesn’t need retrospect; he realizes it’s funny
while he’s in the eye of the storm.”

Unit 4 • The Challenge of Comedy 235

 ACTIVITY 4.2
Understanding the
continued Complexity of Humor
22 Superiority theory—Audience members laugh at those who appear to be more
Literary Terms stupid than they judge themselves to be. Slapstick humor, such as seeing a guy slip on
A persona is the voice a banana peel, often falls into this category. This theory dates back to Plato in ancient
or character speaking or Greece and was prominent in the Middle Ages, when people with deformities were
narrating a story. often employed as court jesters.
23 Some comedians exploited this theory by building a routine—or even a persona—
around the idea that they were losers who couldn’t catch a break. Larry David, David
Letterman, and Woody Allen are comedians who have done this, each in his own way.
WORD
CONNECTIONS 24 Incongruity theory—People laugh when things that are not normally associated
with each other are put together. Many comedy duos, from Laurel and Hardy to David
Superiority has the Latin root
Spade and Chris Farley, feature a thin man and a fat man, a visual contrast.
super, which means “placed
above.” This root is found in 25 People also laugh when there is a difference between what they expect to happen
many English words, including, and what actually occurs. They are being led in a certain direction, and then that
superb, superlative, supreme, direction abruptly changes, and the unpredictability makes them laugh. Children see
supervise, superintendent, birds all the time without reaction, but if one flies into their classroom through an open
and supernatural. window, they will probably explode in giggles.
An incongruity happens when
things do not match as they Got Laughs?
are expected to. The word 26 What we laugh at changes as we age. Here are some examples.
incongruity has the root
-congru-, which means “to come Audience Often Likes
together,” “to agree,” or “to
“coincide.” The prefix in- means Young children Slapstick, or silly physical humor
“not” or “without.”
Elementary-school Puns, simple jokes that play off the sound rather
Children than the meaning of a word, such as “Lettuce all
go to the salad bar”
Literary Terms
Satire is a form of comedy Teens Jokes about topics that authority figures would
that uses humor, irony, or consider rebellious, a way to use humor to deal
exaggeration to expose and with nerve-racking subjects

© 2014 College Board. All rights reserved.

criticize issues in society or
people’s weaknesses. Adults, particularly Satire, which makes fun of the weaknesses of
well-educated ones people and society

KEY IDEAS AND DETAILS

27 Generally, children laugh more than adults. One study found that adults laugh 20
What distinction can you make
between what makes children times a day, while children laugh 200 times!
laugh and what makes adults
laugh? Why might children
The Secrets of Humor
laugh more often than adults? 28 Certain comedic devices turn up again and again in jokes, comic strips, and filmed
entertainment—because they succeed.
29 “There were tricks,” said Hiestand of his days writing for The Tonight Show hosted
by Johnny Carson, “things you would see, certain things always got laughs.” One of the
most popular is often called the rule of threes. That is a pattern in which two nonfunny
elements are followed by a third that is funny (yet still makes sense within the context).
Many jokes start off with a list of three, such as “A rabbi, a lawyer, and a duck walk into
a bar.” As the joke unfolds, the rabbi says something straightforward, then the lawyer
does as well, but the duck finishes with something witty or absurd.

236 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.2
continued

30 Three guys were stranded on an island. An antique lamp washed ashore. When the
guys touched it, a genie came out. “I’ll grant each of you one wish,” the genie said. The My Notes
first guy said, “I want to go home,” then disappeared. The second guy said, “I also want
to go home,” and he too disappeared. The third man suddenly looked sad. He said, “I
want my two friends back to keep me company.”
31 Certain concepts seem to be more amusing than others. If you tell any joke
involving an animal, and it doesn’t matter which one you use, think Donald and Daffy.
In the LaughLab experiment, scientists determined that the funniest animal is the duck.
(It’s not arbitrary that a duck was used in the rule-of-threes joke.)

Do Tell—But Do It Right
32 There are also known techniques for telling jokes well.

• Keep it short—Don’t include any details that are not necessary to bring you to the
punch line. In the genie joke, there was no need to specify it was a tropical island
or to name the castaways. The quicker you tell a joke, the funnier it will be.
• Be specific—Some comedians swear that a joke is funnier if you say “Aquafresh”
instead of “toothpaste.” The attention to detail makes the story seem more real. KEY IDEAS AND DETAILS
• Keep a straight face—Deliver the joke deadpan, or without emotion. That way, Name one “secret” of
any strangeness in the joke will seem even stranger because the person telling it successful comic devices
doesn’t seem to notice. that you have witnessed as
being successful.
• Don’t laugh at your own joke—Let your audience decide whether it is funny or
foolish—or both.
KEY IDEAS AND DETAILS
33 Theories and techniques aside, much about humor remains a mystery. According How do the first two
to Hiestand, Carson many times said, “I don’t understand what makes comedy a sure techniques relate to
thing. There’s no 100-percent surefire formula.” Meanwhile, for most of us, laughter is narrative writing?
never a problem. It does not need to be solved, just enjoyed.
© 2014 College Board. All rights reserved.

Unit 4 • The Challenge of Comedy 237

ACTIVITY 4.2
Understanding the
continued Complexity of Humor
After Reading
My Notes 4. Write an objective summary of a section of the text by putting the main points
into your own words. Remember that a summary is a broad overview of the text;
stick to the main points by writing about big ideas and excluding smaller details.

Using Precise Diction to Analyze Humor

5. To analyze a text carefully, one must use specific words to describe the humor
and explain the intended effect. Work collaboratively to define terms and to
understand the nuances of words with similar denotations (definitions). You
have already encountered some of these words.

Words to Denotation Connotations

Describe Humor

amusing

cute

facetious

hysterical

ironic

irreverent

laughable

© 2014 College Board. All rights reserved.

light-hearted

ludicrous

mocking

sarcastic

satirical

witty

238 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.2
continued

Words to Describe Denotation Connotations

My Notes
Response Humor

chuckle

giggle

groan

guffaw

snort

scoff

smile

smirk

snicker
© 2014 College Board. All rights reserved.

titter

Language and Writer’s Craft: Verbals

A verbal is a word (or words) that functions as a verb. Verbals include participles,
infinitives, and gerunds.
Each of the verbs above has a participial form in both the present and the past tense:
• Present participle: smirking, smiling, guffawing
• Past participle: smirked, smiled, guffawed

Each verb also has an infinitive form, or “to” form:

• Infinitive: to smirk, to smile, to guffaw

Unit 4 • The Challenge of Comedy 239

ACTIVITY 4.2
Understanding the
continued Complexity of Humor
As you know, verbs may be used simply to show action in sentences.
My Notes
John smirked at the joke; Doris was giggling.
Verb forms may also be used as nouns, adjectives, and adverbs
adverbs. When used this
way, they are called verbals because they look like verbs but are used as other
parts of speech. Look at the examples below. Is each of the boldfaced verbals used
as a noun, an adjective, or an adverb?
Example: Smirking, John handed the wrapped gift to Ted, who wanted to open it
right away.
Smirking is an adjective describing John, wrapped is an adjective describing the
gift, and to open is a noun used as the object of the verb “wanted.”
Identify the verbals in the following sentences and tell whether they are used as
nouns, adjectives, or adverbs.
• Giggling and snorting,, the crowd of students watched the comic video.
• To laugh is my greatest pleasure.
• Hiding his snickering behind a raised hand, Henry bent forward with a
side-splitting outburst of laughter.
• Scoffing at the attempted joke, Mark refused to look at the giggling child.

Writing Prompt: Return to the quickwrite you wrote at the beginning of this activity.
Revise it to create a detailed paragraph that uses precise diction to explain your sense
of humor. Use at least two words from each chart to explain what does and does not
make you laugh and how you typically respond to humorous texts. Be sure to:
• Use precise diction to describe humor.
• Begin with a clear thesis statement.
• Include details and examples.
• Include at least two verbals.

© 2014 College Board. All rights reserved.

240 SpringBoard® English Language Arts Grade 8

 Classifying Comedy ACTIVITY
4.3

Learning Targets
• Categorize humorous texts into levels of comedy. LEARNING STRATEGIES:
Marking the Text, Graphic
• Write an analysis of how an artist creates humor. Organizer, Note-taking,
Discussion Groups,
Understanding Levels of Comedy Brainstorming, RAFT, Drafting
Comedy occurs in different ways.
Low comedy refers to the type of humor that is focused primarily on the situation or My Notes
series of events. It includes such things as physical mishaps, humor concerning the
human body and its functions, coincidences, and humorous situations. With low
comedy, the humor is straightforward and generally easy to follow and understand.
Since the primary purpose of most low comedy is to entertain, the action is
frequently seen as hilarious or hysterical and the effect is often side-splitting
laughter and guffaws. Many times, the characters are exaggerated caricatures
rather than fully-developed characters. These caricatures are often caught in
unlikely situations or they become victims of circumstances seemingly beyond
their control. Thus, the plot takes priority over the characters. Examples of low
comedy might include Madea’s Family Reunion, Meet the Parents, and America’s
Funniest Home Videos. Shakespeare’s comedies, such as A Midsummer Night’s
Dream and Twelfth Night, are full of low comedy.
High comedy refers to the type of humor that is focused primarily on characters,
dialogue, or ideas. It includes such things as clever wordplay, wit, and pointed
remarks regarding larger issues. Many times, high comedy takes an irreverent or
unconventional look at serious issues.
Sometimes the humor of high comedy is not immediately obvious; it can take a
bit of reflection in order to realize the humorous intent. Frequently, the purpose
of high comedy is to express an opinion, to persuade, or to promote deeper
consideration of an idea. Often described as amusing, clever, or witty, high
comedy typically results in chuckles, grins, and smiles rather than loud laughter.
Clever use of language and interesting characters receive more attention than
the circumstances that surround them. Examples of high comedy include Modern
© 2014 College Board. All rights reserved.

Family, The Middle, and, at times, The Simpsons. Shakespeare’s tragedies, such as
Hamlet and Romeo and Juliet, also include instances of high comedy.
WORD
1. Why do we distinguish between different kinds of comedy? CONNECTIONS
Analogies
An analogy can show a
relationship of function or
2. With a partner, take notes to complete each chart on the next page. Brainstorm purpose. What word would
a strong example at each level of comedy. complete the following
analogy? Think about the
purpose of each descriptor.
slapstick : guffaws ::
wit :

Unit 4 • The Challenge of Comedy 241

ACTIVITY 4.3
Classifying Comedy
continued

Low Comedy

Purpose Common Subjects Emphasis Descriptions Intended

Responses

High Comedy

Purpose Common Subjects Emphasis Descriptions Intended

Responses

Check Your Understanding © 2014 College Board. All rights reserved.

3. Write a concise statement that shows you understand the difference between
the two levels of comedy.

242 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.3
continued

Analyzing Humorous Texts

4. Brainstorm what you already know about comic strips and political cartoons. My Notes
Think about format, audience, topics, descriptions of humor, intended effects, etc.

Comic Strips:

Political Cartoons:

5. Read and mark the text of the following definitions for information that is new
to you:

Comic strips are meant primarily to entertain. They have a beginning and middle
that lead to a humorous ending. They tend to be a low-level comedy that is
easily understood by a wide audience.
Political cartoons deal with larger issues and are often meant to communicate
a particular political or social message. They often have a single panel with a
powerful statement to reinforce humor displayed through a picture (characters
or symbols). They tend to be high-level comedy, appealing to a smaller
population that is well-informed about a specific topic.

Introducing the Strategy: RAFT

RAFT is an acronym that stands for role, audience, format, and topic. RAFT is a
strategy that can be used for responding to and analyzing text by identifying
and examining the role, audience, format, and topic of a text you are studying.
© 2014 College Board. All rights reserved.

6. Use the graphic organizer and the RAFT strategy on the next page to analyze the
humor in comics and political cartoons based on the previous definitions.

Unit 4 • The Challenge of Comedy 243

ACTIVITY 4.3
Classifying Comedy
continued

Title

Role Comics: Political Cartoon:

Who is the author? Where is this
cartoon or political cartoon found?
What is the attitude (tone) of the
author toward the topic? How can
you tell?

Audience
Who does this comic or political
cartoon target? How do you know?

Format
Describe the use of print and non-
print techniques (dialogue, narration
frames, and angles) used for effect.

Topic
What is this comic/cartoon about?
Who are the characters?
What is happening?
How would you describe the humor?
What is the intended effect?

© 2014 College Board. All rights reserved.

Check Your Understanding
My Notes Expository Writing Prompt: Think about your selected cartoon or comic. How
does the artist create humor? Draft a response that describes the humor and
explains the intended effect. Be sure to:
• Establish a controlling idea that describes the humor and intended effect.
• Organize ideas into broader categories.
• Use precise diction to describe humor.

244 SpringBoard® English Language Arts Grade 8

 Humorous Anecdotes ACTIVITY
4.4

Learning Targets
• Analyze how authors convey humor in speech and writing. LEARNING STRATEGIES:
Graphic Organizer, Discussion
• Write and present an oral reading of an original anecdote. Groups, Rereading, Close
• Analyze the effect of verbals in a humorous text. Reading, Marking the Text,
Brainstorming, TWIST,
Oral Reading
Humorous Anecdotes
1. What do you know about anecdotes?

WORD
CONNECTIONS
2. Read the following information to see how the use of anecdotes applies to a
Roots and Affixes
study of humor.
The word anecdote comes
An anecdote is a brief, entertaining account of an incident or event. Often,
from the Greek word anekdota,
anecdotes are shared because of their humorous nature, but anecdotes can also meaning “things unpublished.”
help illustrate larger ideas and concepts. Families sometimes share anecdotes The roots are the prefix an-,
about the humorous things family members have done. Frequently, the stories meaning “not,” and -ekdotos,
become more and more absurd as the details are exaggerated with each retelling. meaning “published.”

3. Do you or your family have a humorous anecdote that is shared over and over?
What is it? Why is it retold? Who tells it? How does it change over time?
My Notes

Viewing a Humorous Monologue

The following monologue provides humorous accounts of somewhat ordinary
events. Finding and describing the humor in the people, places, and events you
encounter can enrich your conversations as well as your writing.
4. As you watch the clip for the first time, listen for different topics in the
monologue and take notes.
© 2014 College Board. All rights reserved.

Unit 4 • The Challenge of Comedy 245

ACTIVITY 4.4
Humorous Anecdotes
continued

Comedian’s Persona People Places Events

5. The second time you view the clip, pay attention to how the comedian delivers the anecdote. Take notes on your
assigned section.

1. Describe the comedian’s delivery. What is the effect 2. Record the comedian’s transitions between topics
on the audience? within his anecdote. What words or phrasing does he
Tone: use?

Facial Expressions:

Gestures:

Volume:

Pacing:

© 2014 College Board. All rights reserved.

Inflection (emphasis):

Effect:

3. Desribe the imagery the comedian uses. List details 4. Does the speaker’s tone shift? Record his attitude
that describe a person, place, or event. Why does the about the topic at the beginning of the monologue and
comedian include these specific details? if his attitude changes. How does he communicate this
Topic: shift?

Descriptive Details:

Figurative Language:

246 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.4
continued

Check Your Understanding

6. Quickwrite: How is the comedian able to create laughter in the audience by My Notes
telling such simple anecdotes?

7. Discuss how you would describe the humor the comedian uses. What do you
think is the intended response? During your discussion, be sure to:
• Use precise diction to describe the humor.
• Provide examples from the text to support your analysis.

Before Reading
8. Do you have any funny memories related to a road trip or riding in a car? Think
about the people, places, and events associated with the memory.

During Reading
9. You will next read a humorous essay. As you read, make connections between
what you are reading and your own experiences. Also think about other
humorous texts you have read and how this text connects to those texts.
Finally, make connections between the text and the world around you. Use the
following symbols to mark the text.

T/S = Text to Self

T/T = Text to Text
T/W =Text to World

ABOUT THE AUTHOR

© 2014 College Board. All rights reserved.

Jon Scieszka (b. 1954) is the oldest of six brothers in his family. He became
an elementary school teacher and found that his students liked the funny
stories that he enjoyed telling. He has since published a number of children’s
books, which are illustrated by his friend Lane Smith. In 2008, the Librarian
of Congress named him National Ambassador for Young People’s Literature.

Unit 4 • The Challenge of Comedy 247

 ACTIVITY 4.4
Humorous Anecdotes
continued

Essay
My Notes

from
B r o t he r s
by Jon Scieszka

Brothers are the guys you

stick with and stick up for.
The Scieszka brothers are
scattered all over the country
KEY IDEAS AND DETAILS now, but we still get together once a
Note the uses of dashes
year to play a family golf tournament.
and parentheses to give
We named it after our dad, Lou, and his favorite car—his old Cadillac Coupe de Ville.
information. How does the
author use these elements for
It is the Coupe de Lou Classic. We all grew up playing golf, because Dad Lou, an
comic effect? elementary school principal, taught Junior Golf and gave us lessons during summers
off. And I’m sure my brothers would want me to point out the amazing fact that I am
the winner of both the very first Coupe de Lou 1983 and the latest Coupe de Lou 2004.
But of all the Scieszka brother memories, I believe it was a family car trip that gave
us our finest moment of brotherhood. We were driving cross-country from Michigan
to Florida, all of us, including the family cat (a guy cat, naturally), in the family station
wagon. Somewhere mid-trip we stopped at one of those Stuckey’s rest-stop restaurants
to eat and load up on Stuckey’s candy.
We ate lunch, ran around like maniacs in the warm sun, then packed back into the
station wagon—Mom and Dad up front, Jim, Jon, Tom, Gregg, Brian, Jeff, and the cat
in back. Somebody dropped his Stuckey’s Pecan Log Roll® on the floor. The cat found it
and must have scarfed every bit of it, because two minutes later we heard that awful ack
ack ack sound of a cat getting ready to barf.

© 2014 College Board. All rights reserved.

The cat puked up the pecan nut log. Jeff, the youngest and smallest (and closest to
the floor) was the first to go. He got one look and whiff of the pecan nut cat yack and
blew his own sticky lunch all over the cat. The puke-covered cat jumped on Brian, Brian
barfed on Gregg. Gregg upchucked on Tom. Tom burped a bit of Stuckey lunch back on
Gregg. Jim and I rolled down the windows and hung out as far as we could, yelling in
group puke horror.
KEY IDEAS AND DETAILS
How does the author use Dad Lou didn’t know what had hit the back of the car. No time to ask questions. He
repetition for comic effect? just pulled off to the side of the road. All of the brothers—Jim, Jon, Tom, Gregg, Brian,
and Jeff—spilled out of the puke wagon and fell in the grass, gagging and yelling and
laughing until we couldn’t laugh anymore.
What does it all mean? What essential guy wisdom did I learn from this?
Stick with your brothers. Stick up for your brothers. And if you ever drop a pecan
nut log in a car with your five brothers and your cat . . . you will probably stick to
your brothers.

248 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.4
continued

After Reading
My Notes

Introducing the Strategy: TWIST

TWIST is an acronym for tone, word choice, imagery, style, and theme.
This writing strategy helps a writer analyze each of these elements in a text
in order to write a response to an analytical writing prompt about the text.

10. Reread the excerpt from “Brothers,” and use the TWIST strategy to guide your
analysis of the text.

Acronym Text: “Brothers” by Jon Scieszka

Tone
What is the author’s attitude about
the topic?

Word choice
What specific diction does the author
use for effect?

Imagery
What specific descriptive details and
figurative language does the author
use for effect?
© 2014 College Board. All rights reserved.

Style
How does the author use language to
create humor?
What is the intended response the
author hopes to achieve?

Theme
What is the central idea of this text?
What idea about life is the author
trying to convey through humor?

Unit 4 • The Challenge of Comedy 249

ACTIVITY 4.4
Humorous Anecdotes
continued

11. Once you have found textual evidence from the text “Brothers,” and made an
My Notes inference about the theme, you are ready to write an analytical topic sentence.
State the title, author, and genre (TAG) in your thesis or topic sentence.
For example:
Jon Scieszka’s anecdote “Brothers” is a low-level comedy that uses a comic
situation, exaggeration, and comic diction to reveal a universal truth about
how brothers who laugh together stick together.

Practice writing a topic sentence about the stand-up comedy using the
TAG format.

Writing and Presenting Your Own Anecdote

12. Use the TWIST graphic organizer below to plan your own anecdote.

Subject of Humorous Memory: People/Place/Events:

Tone:
What is your attitude about the topic? How will you convey that attitude?

Word Choice:
What specific diction can you use for effect?

© 2014 College Board. All rights reserved.

Imagery:
What specific descriptive and figurative language can you use for effect?

Style:
How can you use language (diction and syntax) to create humor?
What is the intended response you hope to achieve?

Theme:
What idea about life are you trying to convey through humor?

250 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.4
continued

13. Draft your anecdote. Be sure to include a beginning, middle, and end. As you
write your draft, think about using verbals. Study the material below to learn My Notes
about using verbals.
14. Present an oral reading of your draft to a partner. After your partner presents,
provide feedback relating to his or her ideas, organization, language, and the
humorous effect.

Language and Writer’s Craft: Using Verbals

You have learned that verbals are verb forms that function in a sentence as a noun
or a modifier (adjective or adverb) rather than as a verb. Types of verbals include
infinitives, gerunds, and participles. It is important to remember that although a
verbal is formed from a verb, it does not function as a verb.
Writers add verbals to their writing for variety and effect. Jon Scieszka uses verbals
in his anecdote “Brothers” to exaggerate the brothers’ reactions to the “pecan log”
incident. Look at these examples from the text:
• Gerunds are verbals that end in -ing and function as nouns.
Example: Playing golf is an activity that the Scieszka family enjoyed
enjoyed.
• Participles are verbals (-ing and -ed forms of verbs) that function as adjectives.
Example: “All of the brothers—Jim, Jon, Tom, Gregg, Brian, and Jeff—spilled out
of the puke wagon and fell in the grass, gagging and yelling and laughing until
we couldn’t laugh anymore.”
• Infinitives are verbals (usually preceded by the particle to)) that function as
nouns, adjectives, or adverbs.
Example: “We still get together once a year to play a family golf tournament.”

Check Your Understanding

Expository Writing Prompt: Select an anecdote in an audio or visual format
or the print anecdote you read in this activity, and explain the humor the author
© 2014 College Board. All rights reserved.

creates and its intended response. Be sure to:

• Establish a clear controlling idea relating the elements of humor to the anecdote.
• Use specific examples from the text to support your analysis.
• Use precise diction.
• Incorporate verbals into your writing.

Unit 4 • The Challenge of Comedy 251

ACTIVITY Finding Truth in Comedy
4.5

Learning Targets
LEARNING STRATEGIES: • Collaborate to analyze a humorous essay in a Socratic Seminar.
Think-Pair-Share, Marking
the Text, Metacognitive • Write to explain how an author conveys universal truths through humor.
Markers, Questioning the Text,
Rereading, Close Reading, Before Reading
Discussion Groups, Socratic
1. Read and respond to the following quote.
Seminar, Drafting

Quote by Interpretation Personal

George Bernard Shaw Commentary
My Notes
“The power of comedy
is to make people laugh,
and when they have
their mouths open and
they least expect it—
you slip in the truth.”

2. Why might people use comedy to discuss serious or important topics?

© 2014 College Board. All rights reserved.

During Reading
3. Use these metacognitive markers to mark the text while reading the essay. You
will use your marked text to actively participate in a class discussion.
* text you want to comment on
? text you are questioning
! text intended to be humorous

252 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.5
continued

ABOUT THE AUTHOR My Notes

Dave Barry (b. 1947) was a humor columnist for the Miami Herald until 2005.
His work there won him the Pulitzer Prize for Commentary in 1988. He has
also written novels and children’s books and continues to write articles for a
variety of magazines. Much of Barry’s work provides humorous commentary
on current social issues.

Essay

pet peeves
I’ve got a few
about sea creatures
by Dave Barry

Chunk 1
1 Pets are good, because they teach children important lessons about life, the main KEY IDEAS AND DETAILS
one being that, sooner or later, life kicks the bucket. What is the effect of
2 With me, it was sooner. When I was a boy, my dad, who worked in New York City, the repetition of
would periodically bring home a turtle in a little plastic tank that had a little plastic “a little plastic”?
island with a little plastic palm tree, as is so often found in natural turtle habitats. I was
excited about having a pet, and I’d give the turtle a fun pet name like Scooter. But my
excitement was not shared by Scooter, who, despite residing in a tropical paradise, never
did anything except mope around.
3 Actually, he didn’t even mope “around”: He moped in one place without moving,
© 2014 College Board. All rights reserved.

or even blinking, for days on end, displaying basically the same vital signs as an ashtray.
Eventually I would realize—it wasn’t easy to tell—that Scooter had passed on to that
Big Pond in the Sky, and I’d bury him in the garden, where he’d decompose and become
food for the zucchini, which in turn would be eaten by my dad, who would in turn go to
New York City, where, compelled by powerful instincts that even he did not understand,
he would buy me another moping death turtle. And so the cycle of life would repeat.
Chunk 2
4 I say all this to explain why I recently bought fish for my 4-year-old daughter,
Sophie. My wife and I realized how badly she wanted an animal when she found a
KEY IDEAS AND DETAILS
beetle on the patio and declared that it was a pet, named Marvin. She put Marvin into What is the effect of the
a Tupperware container, where, under Sophie’s loving care and feeding, he thrived for juxtaposed ideas:
maybe nine seconds before expiring like a little six-legged parking meter. Fortunately, we “grown bigger” and
have a beetle-intensive patio, so, unbeknownst to Sophie, we were able to replace Marvin “grown smaller”?
with a parade of stand-ins of various sizes (“Look! Marvin has grown bigger!” “Wow!
Today Marvin has grown smaller!”). But it gets to be tedious, going out early every
morning to wrangle patio beetles. So we decided to go with fish.

Unit 4 • The Challenge of Comedy 253

 ACTIVITY 4.5
Finding Truth in Comedy
continued

5 I had fish of my own, years ago, and it did not go well. They got some disease like
My Notes Mongolian Fin Rot, which left them basically just little pooping torsos. But I figured that
today, with all the technological advances we have such as cellular phones and “digital”
things and carbohydrate-free toothpaste, modern fish would be more reliable.
6 So we got an aquarium and prepared it with special water and special gravel
and special fake plants and a special scenic rock so the fish would be intellectually
stimulated and get into a decent college. When everything was ready I went to the
aquarium store to buy fish, my only criteria being that they should be 1) hardy
digital fish; and 2) fish that looked a LOT like other fish, in case God forbid we had
KEY IDEAS AND DETAILS to Marvinize them. This is when I discovered how complex fish society is. I’d point
What specific details does the to some colorful fish and say, “What about these?” And the aquarium guy would say,
author include in order to have “Those are great fish but they do get aggressive when they mate.” And I’d say, “Like, how
a comic effect? aggressive?” And he’d say, “They’ll kill all the other fish.”
7 This was a recurring theme. I’d point to some fish, and the aquarium guy would
inform me that these fish could become aggressive if there were fewer than four of
them, or an odd number of them, or it was a month containing the letter “R,” or they
heard the song “Who Let the Dogs Out.” It turns out that an aquarium is a powder keg
that can explode in deadly violence at any moment, just like the Middle East, or junior
high school.
Chunk 3
8 TRUE STORY: A friend of mine named David Shor told me that his kids had an
aquarium containing a kind of fish called African cichlids, and one of them died. So
David went to the aquarium store and picked out a replacement African cichlid, but
the aquarium guy said he couldn’t buy that one, and David asked why, and the guy said:
“Because that one is from a different lake.”
9 But getting back to my daughter’s fish: After much thought, the aquarium guy was
able to find me three totally pacifist fish-Barney Fife fish, fish so nonviolent that, in the
wild, worms routinely beat them up and steal their lunch money. I brought these home,
and so far they have not killed each other or died in any way. Plus, Sophie LOVES
them. So everything is working out beautifully. I hope it stays that way, because I hate
zucchini.

© 2014 College Board. All rights reserved.

After Reading
4. How would you classify this essay (high or low comedy)? Explain.

5. How would you describe the humor? What is the author’s intended response?
Use precise diction in your response

6. How does the author use language (diction, syntax, imagery) to create a
humorous tone?

254 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.5
continued

7. How does the author appeal to the audience’s emotions, interests, values,
and/or beliefs? My Notes

8. What is the universal truth (theme) of the text? How does the author develop
the idea through humorous characters and plot?

9. Develop Levels of Questions based on your analysis to prepare for a Socratic

Seminar discussion. Remember to maintain a formal style in your speaking
during the Socratic Seminar. Be sure to:
• Use precise verbs such as: communicates, creates, emphasizes, or illustrates
when discussing the author’s purpose.
• Use the author’s last name: “Barry creates humor by . . .”
• Cite textual evidence to support your opinion.

Levels of Questioning “I’ve got a few pet peeves about sea creatures”
Level 1: Literal

Level 2: Interpretive

Level 3: Universal
© 2014 College Board. All rights reserved.

(thematic)

Unit 4 • The Challenge of Comedy 255

 ACTIVITY 4.5
Finding Truth in Comedy
continued

10. Brainstorm other precise verbs that will help in your discussion. Do you have
My Notes any other tips for using formal language?

11. Use your analysis and questions to engage in a Socratic Seminar discussion.

Check Your Understanding

Expository Writing Prompt: How does Barry use humor to convey a truth about
life? Be sure to:
• Establish a clear controlling idea about conveying a truth.
• Use transitions to create cohesion and clarify relationships among ideas
and concepts.
• Use precise diction to describe humorous effects.

© 2014 College Board. All rights reserved.

INDEPENDENT
READING LINK
For independent practice,
explain the theme of your text
using specific evidence for
support. Write several Levels
of Questions for a specific
section of reading. Use the
Level 3 questions to have a
discussion about themes with
your peers.

256 SpringBoard® English Language Arts Grade 8

 Satirical Humor ACTIVITY
4.6

Learning Targets
• Analyze satire in print and non-print texts. LEARNING STRATEGIES:
Marking the Text, Discussion
• Use transitional strategies in an analytical paragraph. Groups, Rereading,
Revisiting, Adding,
Before Reading Substituting
1. Work collaboratively to diffuse and paraphrase the definition of satire.

Satire, a form of high comedy, is the use of irony, sarcasm, and/or ridicule in
exposing, denouncing, and/or deriding human vice and folly.
ACADEMIC VOCABULARY
Satiric comedy is not always
funny. Sometimes it mocks or
derides the subject. This kind
of derision allows a satirist to
denounce or express strong
disapproval of an attitude or
topic.

Paraphrase: My Notes

2. You will next view a film clip your teacher shows and take notes on the satire
you observe.

This clip is from:

TOPIC (vice or SATIRE- Examples of irony, sarcasm, or ridicule

folly exposed) used:
© 2014 College Board. All rights reserved.

During Reading
3. First listen to the text read aloud, and mark the text any time you recognize
humor by highlighting it or putting a smiley face on the text or in the margin.
4. As you reread the text, annotate by circling the highly connotative diction that
stands out to you and noting the effect of those words in the My Notes space.

Unit 4 • The Challenge of Comedy 257

 ACTIVITY 4.6
Satirical Humor
continued

GRAMMAR USAGE
Article
Verb Tenses
Read these examples
of verb tenses:
Underfunded Schools
Past: I delivered the mail. Forced To Cut Past Tense
From Language Programs
Past perfect: I had delivered
the mail by that time.
Past progressive/past
continuous: I was delivering from The Onion
packages all day yesterday.
Past perfect progressive: 1 WASHINGTON—Faced with ongoing budget crises, underfunded schools
I had been delivering for an nationwide are increasingly left with no option but to cut the past tense—a grammatical
hour when I got sick. construction traditionally used to relate all actions and states that have transpired at an
earlier point in time—from their standard English and language arts programs.
2 A part of American school curricula for more than 200 years, the past tense was
deemed by school administrators to be too expensive to keep in primary and secondary
My Notes education.
3 “This was by no means an easy decision, but teaching our students how to
conjugate verbs in a way that would allow them to describe events that have already
occurred is a luxury that we can no longer afford,” Phoenix-area high school principal
Sam Pennock said.
4 “With our current budget, the past tense must unfortunately become a thing
of the past.”
5 In the most dramatic display of the new trend yet, the Tennessee Department
of Education decided Monday to remove “-ed” endings from all of the state’s English
classrooms, saving struggling schools an estimated $3 million each year. Officials
say they plan to slowly phase out the tense by first eliminating the past perfect; once
students have adjusted to the change, the past progressive, the past continuous, the past
perfect progressive, and the simple past will be cut. Hundreds of school districts across

© 2014 College Board. All rights reserved.

KEY IDEAS AND DETAILS
How do quotes from the country are expected to follow suit.
specific people add to the 6 “This is the end of an era,” said Alicia Reynolds, a school district director in
development of ideas in the Tuscaloosa, AL. “For some, reading and writing about things not immediately taking
article? place was almost as much a part of school as history class and social studies.”
7 “That is, until we were forced to drop history class and social studies a couple of
months ago,” Reynolds added.
8 Nevertheless, a number of educators are coming out against the cuts, claiming
that the embattled verb tense, while outmoded, still plays an important role in the
development of today’s youth.
9 “Much like art and music, the past tense provides students with a unique and
consistent outlet for self-expression,” South Boston English teacher David Floen said.
“Without it I fear many of our students will lack a number of important creative skills.
Like being able to describe anything that happened earlier in the day.”
10 Despite concerns that cutting the past tense will prevent graduates from
communicating effectively in the workplace, the home, the grocery store, church, and
various other public spaces, a number of lawmakers, such as Utah Sen. Orrin Hatch,
have welcomed the cuts as proof that the American school system is taking a more

258 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.6
continued

forward-thinking approach to education. “Our tax dollars should be spent preparing

our children for the future, not for what has already happened,” Hatch said at a recent My Notes
press conference. “It’s about time we stopped wasting everyone’s time with who ‘did’
what or ‘went’ where. The past tense is, by definition, outdated.” Said Hatch, “I can’t
even remember the last time I had to use it.”
11 Past-tense instruction is only the latest school program to face the chopping block.
School districts in California have been forced to cut addition and subtraction from
their math departments, while nearly all high schools have reduced foreign language
courses to only the most basic phrases, including “May I please use the bathroom?” and
“No, I do not want to go to the beach with Maria and Juan.” Some legislators are even
calling for an end to teaching grammar itself, saying that in many inner-city school
districts, where funding is most lacking, students rarely use grammar at all.
12 Regardless of the recent upheaval, students throughout the country are learning to
accept, and even embrace, the change to their curriculum.
13 “At first I think the decision to drop the past tense from class is ridiculous, and I
feel very upset by it,” said David Keller, a seventh-grade student at Hampstead School in
Fort Meyers, FL. “But now, it’s almost like it never happens.”

After Reading KEY IDEAS AND DETAILS

5. Circle and explain your response to this text. I think this text is: How does the use of
present tense in the last
quote emphasize the satire?
hilarious funny clever ridiculous because . . .
Discuss the parts of the text that made you laugh, and describe how the
connotative words help create the humor.

6. Collaboratively, use the graphic organizer to explore the satire.

The vice or folly exposed Textual Evidence:

in the text: Irony:
© 2014 College Board. All rights reserved.

Sarcasm:

Ridicule:

Unit 4 • The Challenge of Comedy 259

ACTIVITY 4.6
Satirical Humor
continued

Writing an Analytical Paragraph

My Notes When writing about texts, use the “literary present.” (e.g., “The article states . . .,”
not “The article stated . . .”
Also, remember to maintain coherence in your writing. Using a well-chosen transition
word or phrase can help show the relationship (connection) between the ideas in
your writing. Following is a list of commonly used transitional words and phrases.

Purpose Example
Add and, again, and then, besides, equally important, finally, further, furthermore, nor, too, next, lastly,
what’s more, moreover, in addition, first (second, etc.)
Compare whereas, but, yet, on the other hand, however, nevertheless, on the contrary,
by comparison, where, compared to, up against, balanced against, but, although, conversely,
meanwhile, after all, in contrast, although this may be true
Prove because, for, since, for the same reason, obviously, evidently, furthermore, moreover, besides,
indeed, in fact, in addition, in any case, that is
Show yet, still, however, nevertheless, in spite of, despite, of course, once in a while, sometimes
Exception
Show Time immediately, thereafter, soon, after a few hours, finally, then, later, previously, formerly, first
(second, etc.), next, and then
Repeat in brief, as I have said, as I have noted, as has been noted, to reiterate
Emphasize definitely, extremely, obviously, in fact, indeed, in any case, absolutely, positively, naturally,
surprisingly, always, forever, perennially, eternally, never, emphatically, unquestionably, without a
doubt, certainly, undeniably, without reservation
Show first, second, third, next, then, following this, at this time, now, at this point, after, afterward,
Sequence subsequently, finally, consequently, previously, before this, simultaneously, concurrently, thus,

© 2014 College Board. All rights reserved.

therefore, hence, next, and then, soon
Give an for example, for instance, in this case, in another case, on this occasion, in this situation, take the
Example case of, to demonstrate, to illustrate, as an illustration, to illustrate
Summarize in brief, on the whole, summing up, to conclude, in conclusion, as I have shown, as I have said,
or Conclude hence, therefore, accordingly, thus, as a result, consequently

Expository Writing Prompt: Analyze how the text about underfunded schools
uses satirical humor to expose human vice or folly. Be sure to:
• Establish and support a controlling idea.
• Use transitions to create cohesion and clarify the relationships among ideas
and concepts.
• Use precise diction and maintain a formal style.

260 SpringBoard® English Language Arts Grade 8

 Elements of Humor: Comic Characters ACTIVITY

and Caricatures 4.7

Learning Targets
• Define and recognize comic characters and caricatures. LEARNING STRATEGIES:
Graphic Organizer, Note
• Collaborate to analyze characters and caricatures in a literary text. Taking, Diffusing, Marking
the Text, Visualizing,
Comic Caricatures and Characters Discussion Groups, Rehearsal
Characterization is the way a writer reveals a character’s personality through what
the character says, thinks, and feels or through how the character looks, acts, or
interacts with others.
ACADEMIC VOCABULARY
A caricature is a pictorial, written, and/or acted representation of a person who To use a caricature or to
exaggerates characteristics or traits for comic effect. Caricatures are often used in caricaturize someone is to
cartoon versions of people’s faces and usually exaggerate features for comic effect. exaggerate or imitate certain
characteristics to create a
1. You will next view some comic scenes. As you view the opening sequence, take comic or distorted idea of a
notes in the graphic organizer. person.

Characters Details Interpretation

Sketch the caricature. Describe the What idea is My Notes
characterization. conveyed through the
characterization?
Bart Bart is repetitively He is the stereotype
writing sentences on the of the bad kid in the
board that say . . . classroom.

Homer
© 2014 College Board. All rights reserved.

Marge

Lisa

Family

Unit 4 • The Challenge of Comedy 261

 ACTIVITY 4.7
Elements of Humor: Comic Characters
continued and Caricatures
2. With your discussion group, discuss what truth about life the author is
My Notes conveying through humor. Cite specific examples from the graphic organizer.

Before Reading
3. Diffuse the short story by skimming and scanning for unfamiliar words, attempting
to determine their meaning in context. Write a synonym above the words.

During Reading
4. Your teacher will assign you one of the following characters: Framton Nuttel,
Mrs. Sappleton, or the niece. Mark the text by highlighting evidence that reveals
your character’s personality. Also, use inferencing to note specific character
traits for your character (e.g., gullible, intelligent, honest) in the My Notes space.

ABOUT THE AUTHOR

Hector Hugh Munro (1870–1916), better known by the pen name Saki, was
a British writer and satirist known for his masterful short stories poking fun
at Edwardian society. His witty and intelligent stories are considered among
the best the genre has to offer.

Short Story

The Open
Window

© 2014 College Board. All rights reserved.

by Saki (H. H. Munro)
KEY IDEAS AND DETAILS
Why is it significant that 1 “My aunt will be down presently, Mr. Nuttel,” said a very self-possessed young lady
Framton Nuttel is described of fifteen; “in the meantime you must try and put up with me.”
as undergoing a “nerve cure”?
Predict how this detail could 2 Framton Nuttel endeavoured to say the correct something which should duly1 flatter
be used for humorous effect. the niece of the moment without unduly discounting the aunt that was to come. Privately
he doubted more than ever whether these formal visits on a succession of total strangers
would do much towards helping the nerve cure which he was supposed to be undergoing.
3 “I know how it will be,” his sister had said when he was preparing to migrate to
this rural2 retreat; “you will bury yourself down there and not speak to a living soul,
and your nerves will be worse than ever from moping.3 I shall just give you letters of
introduction to all the people I know there. Some of them, as far as I can remember,
were quite nice.”

1 duly: properly or fittingly

2 rural: country as opposed to city
3 moping: becoming listless or dejected

262 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.7
continued

4 Framton wondered whether Mrs. Sappleton, the lady to whom he was presenting
one of the letters of introduction, came into the nice division. My Notes
5 “Do you know many of the people round here?” asked the niece, when she judged
that they had had sufficient silent communion.
6 “Hardly a soul,” said Framton. “My sister was staying here, at the rectory, you know,
some four years ago, and she gave me letters of introduction to some of the people here.”
7 He made the last statement in a tone of distinct regret.

8 “Then you know practically nothing about my aunt?” pursued the self-possessed
young lady.
9 “Only her name and address,” admitted the caller. He was wondering whether Mrs.
Sappleton was in the married or widowed state. An undefinable something about the
room seemed to suggest masculine habitation.4
10 “Her great tragedy happened just three years ago,” said the child; “that would be
since your sister’s time.”
11 “Her tragedy?” asked Framton; somehow in this restful country spot tragedies
seemed out of place.
KEY IDEAS AND DETAILS
12 “You may wonder why we keep that window wide open on an October afternoon,”
What tone does the niece
said the niece, indicating a large French window that opened on to a lawn.
convey with her description
13 “It is quite warm for the time of the year,” said Framton; “but has that window got of the “tragedy”? What
anything to do with the tragedy?” effect might this precise
detail have on her guest?
14 “Out through that window, three years ago to a day, her husband and her two
young brothers went off for their day’s shooting. They never came back. In crossing
the moor5 to their favourite snipe-shooting ground they were all three engulfed in a
treacherous piece of bog.6 It had been that dreadful wet summer, you know, and places
that were safe in other years gave way suddenly without warning. Their bodies were
never recovered. That was the dreadful part of it.” Here the child’s voice lost its self-
possessed note and became falteringly human. “Poor aunt always thinks that they will
come back some day, they and the little brown spaniel that was lost with them, and walk
© 2014 College Board. All rights reserved.

in at that window just as they used to do. That is why the window is kept open every
evening till it is quite dusk. Poor dear aunt, she has often told me how they went out,
her husband with his white waterproof coat over his arm, and Ronnie, her youngest
brother, singing ‘Bertie, why do you bound?’ as he always did to tease her, because she
said it got on her nerves. Do you know, sometimes on still, quiet evenings like this, I
almost get a creepy feeling that they will all walk in through that window—”
15 She broke off with a little shudder. It was a relief to Framton when the aunt bustled
into the room with a whirl of apologies for being late in making her appearance.
16 “I hope Vera has been amusing you?” she said.

17 “She has been very interesting,” said Framton.

4 habitation: living area; occupancy

5 moor: boggy grassland
6 bog: wet, spongy ground

Unit 4 • The Challenge of Comedy 263

 ACTIVITY 4.7
Elements of Humor: Comic Characters
continued and Caricatures
18 “I hope you don’t mind the open window,” said Mrs. Sappleton briskly; “my
My Notes husband and brothers will be home directly from shooting, and they always come in
this way. They’ve been out for snipe in the marshes to-day, so they’ll make a fine mess
over my poor carpets. So like you men-folk, isn’t it?”
19 She rattled on cheerfully about the shooting and the scarcity of birds, and the
prospects for duck in the winter. To Framton it was all purely horrible. He made a
desperate but only partially successful effort to turn the talk on to a less ghastly topic; he
was conscious that his hostess was giving him only a fragment of her attention, and her
eyes were constantly straying past him to the open window and the lawn beyond. It was
certainly an unfortunate coincidence that he should have paid his visit on this tragic
anniversary.
20 “The doctors agree in ordering me complete rest, an absence of mental excitement,
and avoidance of anything in the nature of violent physical exercise,” announced
Framton, who laboured7 under the tolerably wide-spread delusion8 that total
KEY IDEAS AND DETAILS strangers and chance acquaintances are hungry for the least detail of one’s ailments9
Why is it “horrible” and infirmities, their cause and cure. “On the matter of diet they are not so much in
for Framton to listen to agreement,” he continued.
Mrs. Sappleton? 21 “No?” said Mrs. Sappleton, in a voice which only replaced a yawn at the last
moment. Then she suddenly brightened into alert attention—but not to what Framton
was saying.
22 “Here they are at last!” she cried. “Just in time for tea, and don’t they look as if they
were muddy up to the eyes!”
23 Framton shivered slightly and turned towards the niece with a look intended
to convey sympathetic comprehension. The child was staring out through the open
KEY IDEAS AND DETAILS window with dazed horror in her eyes. In a chill shock of nameless fear Framton swung
What does the author tell the round in his seat and looked in the same direction.
reader in his narration that 24 In the deepening twilight three figures were walking across the lawn towards the
makes Framton Nuttel appear window; they all carried guns under their arms, and one of them was additionally
silly and pathetic? Why? burdened with a white coat hung over his shoulders. A tired brown spaniel kept close at
their heels. Noiselessly they neared the house, and then a hoarse young voice chanted

© 2014 College Board. All rights reserved.

out of the dusk: “I said, Bertie, why do you bound?”
25 Framton grabbed wildly at his stick and hat; the hall-door, the gravel-drive, and the
front gate were dimly-noted stages in his headlong retreat. A cyclist coming along the
road had to run into the hedge to avoid an imminent collision.
26 “Here we are, my dear,” said the bearer of the white mackintosh,10 coming in
through the window; “fairly muddy, but most of it’s dry. Who was that who bolted out
as we came up?”
KEY IDEAS AND DETAILS
Why is Nuttel’s reaction to the
return of the men comic rather
than appropriate?

7 laboured under: be misled by a mistaken belief

8 delusion: a persistent false belief
9 ailments: diseases, sicknesses
10 mackintosh: raincoat

264 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.7
continued

27 “A most extraordinary man, a Mr. Nuttel,” said Mrs. Sappleton; “could only talk
about his illnesses, and dashed off without a word of good-bye or apology when you
arrived. One would think he had seen a ghost.”
28 “I expect it was the spaniel,” said the niece calmly; “he told me he had a horror of
dogs. He was once hunted into a cemetery somewhere on the banks of the Ganges by a
pack of pariah dogs, and had to spend the night in a newly dug grave with the creatures KEY IDEAS AND DETAILS
snarling and grinning and foaming just above him. Enough to make anyone lose their What is the effect of the
nerve.” niece’s last words to her
family? What does the last
29 Romance11 at short notice was her speciality. line of the story mean?

After Reading
5. Quickwrite using a 3–2–1 reflection. My Notes
3 – Describe three things you notice about the author’s use of humor in
the story.
2 – Describe two characters you can picture most vividly.
1 – Share one question you have.

6. Use the graphic organizer to express ideas you have about the characters and
humor in this text.

Details Characters Interpretation

© 2014 College Board. All rights reserved.

How does the author Describe the character using precise What truth about life is revealed
develop the character? adjectives. Would any of them be through the comic character?
(actions, words, thoughts) considered a caricature?
Framton Nuttel

Mrs. Sappleton

The niece

11 romance: an extravagant story without basis in fact

Unit 4 • The Challenge of Comedy 265

 ACTIVITY 4.7
Elements of Humor: Comic Characters
continued and Caricatures
Elements of Humor
My Notes Explaining why something is funny can be a challenge, but there are some common
things authors do that usually make people laugh. Writers create humor by focusing
on descriptions and actions that make characters funny, comic situations, and comic
language. Humor often depends on some combination of these three elements.

7. Preview the Elements of Humor graphic organizer in Activity 4.11 and add notes
about the comic characters and caricatures you explored in this activity. After
you explore each new element of humor in the upcoming activities, return to
this graphic organizer to add notes about new learning.

Check Your Understanding

Explain whether you think the story by Saki is low or high comedy and why. Was
any part of the story unexpected? Explain.

© 2014 College Board. All rights reserved.

266 SpringBoard® English Language Arts Grade 8

 Elements of Humor: Comic Situations ACTIVITY
4.8

Learning Targets
• Identify how humor is created by comic situations. LEARNING STRATEGIES:
Graphic Organizer, Note-
• Collaborate to analyze comic situations in a literary text. taking, Think-Pair-Share,
Marking the Text,
Comic situations can be created in many different ways: Discussion Groups
• by placing a character in an unlikely situation in which he or she obviously does
not belong
• by portraying characters as victims of circumstances who are surprised by
unusual events and react in a comical way Literary Terms
• by creating situational irony where there is contrast between what characters or Irony is a literary device
readers might reasonably expect to happen and what actually happens that plays on readers’
expectations by portraying
events in a way that
1. While you watch a film clip, think about how the situation contributes to
is actually different
the humor.
from reality.
2. As you view the clip a second time, take notes using the graphic organizer below.

Clip: Director:

Comic Character Comic Situation Film Techniques

___________________ That Help Create Humor
Appearance/Facial Setting: Framing:
Expressions:

Actions: Humorous Events: Angles:

© 2014 College Board. All rights reserved.

Words: Sound:

Unit 4 • The Challenge of Comedy 267

 ACTIVITY 4.8
Elements of Humor: Comic Situations
continued

Before Reading
My Notes 3. How might the following quote help you make predictions about the author’s
sense of humor?
“Work is a necessary evil to be avoided.”—Mark Twain

4. Look at the definition of dialect. Skim the following story and find examples of
dialect. Try paraphrasing some of the dialogue.

During Reading
5. Pause during your group reading to discuss and annotate your comments in the
My Notes space. Use the following menu to guide your collaborative discussion
and annotation:
Literary Terms • “I would like to paraphrase” (retell what is happening in the plot in your
Dialect is a regional own words)
or social variety of a
language distinguished by • “I would like to clarify” (discuss a word/idea you are confused about)
pronunciation, grammar, or • “I would like to analyze” (share an inference, assumption, prediction based
vocabulary. This section of the on the text)
story includes a depiction of
Tom’s and Jim’s dialects.
ABOUT THE AUTHOR
Born Samuel Langhorne Clemens, Mark Twain (1835–1910) was an
American author and humorist. He is noted for his novels The Adventures
of Huckleberry Finn (1885), called “the Great American Novel,” and The
Adventures of Tom Sawyer (1876). He has been lauded as the “greatest
American humorist of his age,” and William Faulkner called Twain “the
father of American literature.”

Novel

© 2014 College Board. All rights reserved.

From

Tom
The Adventures of
WORD
CONNECTIONS
Sawyer
Word Origins by Mark Twain
The word whitewash has come
to have a second meaning. In “A Day’s Work”
this story, whitewash means
“a whitening mixture used on Chunk 1
fences and walls.” The word has 1 SATURDAY morning was come, and all the summer world was bright and fresh,
also come to mean “to conceal and brimming with life. There was a song in every heart; and if the heart was young the
or cover up crimes, scandals, music issued at the lips. There was cheer in every face and a spring in every step. The
flaws, or failures.” You can see locust-trees were in bloom and the fragrance of the blossoms filled the air. Cardiff Hill,
how this usage comes from the beyond the village and above it, was green with vegetation and it lay just far enough
idea of using whitewash to cover away to seem a Delectable Land, dreamy, reposeful, and inviting.
up something bad.

268 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.8
continued

Chunk 2
2 Tom appeared on the sidewalk with a bucket of whitewash1 and a long-handled My Notes
brush. He surveyed the fence, and all gladness left him and a deep melancholy2 settled
down upon his spirit. Thirty yards of board fence nine feet high. Life to him seemed
hollow, and existence but a burden. Sighing, he dipped his brush and passed it along
the topmost plank; repeated the operation; did it again; compared the insignificant
whitewashed streak with the far-reaching continent of unwhitewashed fence, and sat
down on a tree-box discouraged. Jim came skipping out at the gate with a tin pail, and
singing Buffalo Gals. Bringing water from the town pump had always been hateful
work in Tom’s eyes, before, but now it did not strike him so. He remembered that there
was company at the pump. White, mulatto, and negro boys and girls were always there
waiting their turns, resting, trading playthings, quarrelling, fighting, skylarking. And he
remembered that although the pump was only a hundred and fifty yards off, Jim never
KEY IDEAS AND DETAILS
got back with a bucket of water under an hour—and even then somebody generally had
One of the notable
to go after him. Tom said:
characteristics of Twain’s
Chunk 3 style is his use of verbals.
3 “Say, Jim, I’ll fetch the water if you’ll whitewash some.” Examine paragraph 2 and
highlight all the verbals
4 Jim shook his head and said: in the passage. Do not
5 “Can’t, Mars Tom. Ole missis, she tole me I got to go an’ git dis water an’ not stop confuse them with the
foolin’ roun’ wid anybody. She say she spec’ Mars Tom gwine to ax me to whitewash, verbs. Remember, verbals
an’ so she tole me go ’long an’ ’tend to my own business—she ’lowed SHE’D ’tend to de are usually -ing (or -ed )
forms of verbs being used
whitewashin’.”
as adjectives, nouns,
6 “Oh, never you mind what she said, Jim. That’s the way she always talks. Gimme or adverbs.
the bucket—I won’t be gone only a a minute. SHE won’t ever know.”
7 “Oh, I dasn’t, Mars Tom. Ole missis she’d take an’ tar de head off ’n me. ’Deed she
would.”
8 “SHE! She never licks anybody—whacks ’em over the head with her thimble—and
who cares for that, I’d like to know. She talks awful, but talk don’t hurt—anyways it don’t
if she don’t cry. Jim, I’ll give you a marvel. I’ll give you a white alley3!”
© 2014 College Board. All rights reserved.

9 Jim began to waver.

KEY IDEAS AND DETAILS
10 “White alley, Jim! And it’s a bully taw.” Which words and phrases
11 “My! Dat’s a mighty gay marvel, I tell you! But Mars Tom I’s powerful ’fraid ole capture the dialect of these
missis—” characters?

12 “And besides, if you will I’ll show you my sore toe.”

13 Jim was only human—this attraction was too much for him. He put down his pail,
took the white alley, and bent over the toe with absorbing interest while the bandage
was being unwound. In another moment he was flying down the street with his pail and
a tingling rear, Tom was whitewashing with vigor, and Aunt Polly was retiring from the
field with a slipper in her hand and triumph in her eye. KEY IDEAS AND DETAILS
14 But Tom’s energy did not last. He began to think of the fun he had planned for this How does Tom try to get
day, and his sorrows multiplied. Soon the free boys would come tripping along on all Jim to help him? Why does
sorts of delicious expeditions, and they would make a world of fun of him for having he fail?

1 whitewash: a mixture used to whiten

2 melancholy: sadness
3 “white alley”: a kind of marble

Unit 4 • The Challenge of Comedy 269

 ACTIVITY 4.8
Elements of Humor: Comic Situations
continued

to work—the very thought of it burnt him like fire. He got out his worldly wealth and
WORD examined it—bits of toys, marbles, and trash; enough to buy an exchange of WORK,
CONNECTIONS maybe, but not half enough to buy so much as half an hour of pure freedom. So he
Word Meanings returned his straitened means to his pocket, and gave up the idea of trying to buy the
boys. At this dark and hopeless moment an inspiration burst upon him! Nothing less
Jargon is the specialized or
than a great, magnificent inspiration.
technical language of a trade,
profession, or similar group. Chunk 4
Paragraphs 15–20 include 15 He took up his brush and went tranquilly to work. Ben Rogers hove in sight
examples of steamboat piloting presently—the very boy, of all boys, whose ridicule he had been dreading. Ben’s gait was
jargon. At one time, Mark Twain the hop-skip-and-jump—proof enough that his heart was light and his anticipations
was a steamboat pilot on the high. He was eating an apple, and giving a long, melodious whoop, at intervals, followed
Mississippi River. by a deep-toned ding-dong-dong, ding-dong-dong, for he was personating a steamboat.
As he drew near, he slackened speed, took the middle of the street, leaned far over to
starboard and rounded to ponderously and with laborious pomp and circumstance—
for he was personating the Big Missouri, and considered himself to be drawing nine
My Notes feet of water. He was boat and captain and engine-bells combined, so he had to imagine
himself standing on his own hurricane-deck giving the orders and executing them:
16 “Stop her, sir! Ting-a-ling-ling!” The headway ran almost out, and he drew up
slowly toward the sidewalk.
17 “Ship up to back! Ting-a-ling-ling!” His arms straightened and stiffened down his
sides.
18 “Set her back on the stabboard! Ting-a-ling-ling! Chow! ch-chow-wow! Chow!”
His right hand, mean-time, describing stately circles—for it was representing a forty-
foot wheel.
19 “Let her go back on the labboard! Ting-a-ling-ling! Chow-ch-chow-chow!” The left
hand began to describe circles.

KEY IDEAS AND DETAILS 20 “Stop the stabboard! Ting-a-ling-ling! Stop the labboard! Come ahead on the
How does Twain use jargon stabboard! Stop her! Let your outside turn over slow! Ting-a-ling- ling! Chow-ow-ow!
for effect? Get out that head-line! LIVELY now! Come—out with your spring-line—what’re you
about there! Take a turn round that stump with the bight of it! Stand by that stage,

© 2014 College Board. All rights reserved.

now—let her go! Done with the engines, sir! Ting-a-ling-ling! SH’T! S’H’T! SH’T!”
(trying the gauge-cocks).
21 Tom went on whitewashing—paid no attention to the steamboat. Ben stared a
moment and then said: “Hi-YI! YOU’RE up a stump, ain’t you!”
Chunk 5
22 No answer. Tom surveyed his last touch with the eye of an artist, then he gave his
brush another gentle sweep and surveyed the result, as before. Ben ranged up alongside of
him. Tom’s mouth watered for the apple, but he stuck to his work. Ben said:
23 “Hello, old chap, you got to work, hey?”

24 Tom wheeled suddenly and said:

25 “Why, it’s you, Ben! I warn’t noticing.”

26 “Say—I’m going in a-swimming, I am. Don’t you wish you could? But of course
you’d druther WORK—wouldn’t you? Course you would!”
27 Tom contemplated the boy a bit, and said:

28 “What do you call work?”

270 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.8
continued

29 “Why, ain’t THAT work?”

30 Tom resumed his whitewashing, and answered carelessly: My Notes

31 “Well, maybe it is, and maybe it ain’t. All I know, is, it suits Tom Sawyer.”

32 “Oh come, now, you don’t mean to let on that you LIKE it?”

33 The brush continued to move.

34 “Like it? Well, I don’t see why I oughtn’t to like it. Does a boy get a chance to
whitewash a fence every day?”
35 That put the thing in a new light. Ben stopped nibbling his apple. Tom swept his
brush daintily back and forth—stepped back to note the effect—added a touch here
and there—criticized the effect again—Ben watching every move and getting more and KEY IDEAS AND DETAILS
more interested, more and more absorbed. Presently he said: Tom tries to manipulate
his friends into doing
36 “Say, Tom, let ME whitewash a little.”
whitewashing for him. How
37 Tom considered, was about to consent; but he altered his mind: does he change his plan
after Jim’s refusal to help?
38 “No—no—I reckon it wouldn’t hardly do, Ben. You see, Aunt Polly’s awful
particular about this fence—right here on the street, you know—but if it was the back
fence I wouldn’t mind and SHE wouldn’t. Yes, she’s awful particular about this fence;
it’s got to be done very careful; I reckon there ain’t one boy in a thousand, maybe two
thousand, that can do it the way it’s got to be done.”
39 “No—is that so? Oh come, now—lemme just try. Only just a little—I’d let YOU, if
you was me, Tom.”
40 “Ben, I’d like to, honest injun; but Aunt Polly—well, Jim wanted to do it, but she
wouldn’t let him; Sid wanted to do it, and she wouldn’t let Sid. Now don’t you see how
I’m fixed? If you was to tackle this fence and anything was to happen to it—”
41 “Oh, shucks, I’ll be just as careful. Now lemme try. Say—I’ll give you the core
of my apple.”
42 “Well, here—No, Ben, now don’t. I’m afeard—”
© 2014 College Board. All rights reserved.

43 “I’ll give you ALL of it!”

Chunk 6
44 Tom gave up the brush with reluctance in his face, but alacrity4 in his heart. And
while the late steamer Big Missouri worked and sweated in the sun, the retired artist sat
on a barrel in the shade close by, dangled his legs, munched his apple, and planned the
slaughter of more innocents. There was no lack of material; boys happened along every
little while; they came to jeer, but remained to whitewash. By the time Ben was fagged
out, Tom had traded the next chance to Billy Fisher for a kite, in good repair; and when
he played out, Johnny Miller bought in for a dead rat and a string to swing it with—and
so on, and so on, hour after hour. And when the middle of the afternoon came, from
being a poor poverty-stricken boy in the morning, Tom was literally rolling in wealth. KEY IDEAS AND DETAILS
He had besides the things before mentioned, twelve marbles, part of a jews-harp, a What is the effect of listing
piece of blue bottle-glass to look through, a spool cannon, a key that wouldn’t unlock Tom’s “treasures” in such
anything, a fragment of chalk, a glass stopper of a decanter, a tin soldier, a couple of great detail?
tadpoles, six fire-crackers, a kitten with only one eye, a brass door-knob, a dog-collar—
but no dog—the handle of a knife, four pieces of orange-peel, and a dilapidated old
window sash.

4 alacrity: cheerful readiness [per Merriam-Webster]

Unit 4 • The Challenge of Comedy 271

ACTIVITY 4.8
Elements of Humor: Comic Situations
continued

After Reading
My Notes 6. On a separate piece of paper or in your Reader/Writer Notebook, create a
graphic organizer like the one below to answer comprehension questions about
the story.

Tom is like a . . . (create a simile) It is ironic that . . .

The part of the story that I wonder . . .

stands out in my head is . . .
(draw a picture)

This is a comedic situation because . . .

7. What is the level of comedy of this text? What is a universal truth, or theme,
of this text? Write a thematic statement. Be sure to support your ideas with
textual evidence.

Twain – “All in a Day’s Work”

© 2014 College Board. All rights reserved.

Level of Comedy:

Theme subject(s):

Theme statement:

272 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.8
continued

Check Your Understanding

Expository Writing Prompt: Explain how Mark Twain uses comic characters and GRAMMAR USAGE
Point of View
situations to convey a universal truth through humor. Be sure to:
When writing an analysis of
• Establish a controlling idea and support it with textual evidence and literature, avoid using the
commentary. first-person pronouns I, me,
• Use transitions to create cohesion and clarify the relationships among ideas and my, and we. Instead, present
concepts. your analysis in the third-
• Use precise diction and maintain a formal style. person point of view, using
he, she, they, or it.
• Use verbals.

Elements of Humor
Add your notes about comic situations to the Elements of Humor graphic organizer My Notes
in Activity 4.11.
© 2014 College Board. All rights reserved.

Unit 4 • The Challenge of Comedy 273

ACTIVITY Elements of Humor: Hyperbole
4.9

Learning Targets
LEARNING STRATEGIES: • Analyze the effect of hyperbole in poetry.
Note-taking, Marking the Text,
Skimming/Scanning, • Identify hyperbole in previously studied print and non-print texts.
Discussion Groups
Understanding Hyperbole
1. Finish the lines using hyperbolic language. The first line is shown as an example.
• My dog is so big, he beeps when he backs up.
Literary Terms • I’m so hungry, I could eat a _________________________.
Hyperbole describes the
literary technique of extreme
• My cat is so smart that _____________________________.
exaggeration for emphasis, • She was so funny that ____________________________.
often used for comic effect.
Before Reading
2. How might a yarn relate to hyperbole?

My Notes
During Reading
3. Use metacognitive markers to closely read the text: * for a line using hyperbole, ?
for a line you are questioning, or ! for a line you find humorous or strange.

ABOUT THE AUTHOR

Carl Sandburg (1878–1967) was a journalist who also wrote poetry, novels,
and historical books. He is perhaps best known as a poet, although his
biography Abraham Lincoln: The War Years won a Pulitzer Prize.

Literary Terms
A yarn is a long, often involved Poetry
story, usually telling of

They Have Yarns

incredible or fantastic events;
an entertaining tale; a tall tale. “ ”

© 2014 College Board. All rights reserved.

by Carl Sandburg

They have yarns

Of a skyscraper so tall they had to put hinges
On the two top stories so to let the moon go by,
Of one corn crop in Missouri when the roots

5 Went so deep and drew off so much water

The Mississippi riverbed that year was dry,
Of pancakes so thin they had only one side,
Of “a fog so thick we shingled the barn and six feet out on the fog,”
Of Pecos Pete straddling a cyclone in Texas and riding it to the west coast where
“it rained out under him,”

274 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.9
continued

10 Of the man who drove a swarm of bees across the Rocky Mountains and the Desert
WORD
“and didn’t lose a bee,”
CONNECTIONS
Of a mountain railroad curve where the engineer in his cab can touch the caboose
Literary Allusions
and spit in the conductor’s eye,
Pecos Pete, Paul Bunyan,
Of the boy who climbed a cornstalk growing so fast he would have starved to death and John Henry are figures
if they hadn’t shot biscuits up to him, out of American legends
and tall tales.
Of the old man’s whiskers: “When the wind was with him his whiskers
arrived a day before he did,”
Of the hen laying a square egg and cackling, “Ouch!” and of hens laying eggs with
GRAMMAR USAGE
the dates printed on them,
Participial Phrases
15 Of the ship captain’s shadow: it froze to the deck one cold winter night, A participial phrase is a
Of mutineers on that same ship put to chipping rust with rubber hammers, group of words beginning
with a participle and used as
Of the sheep counter who was fast and accurate: “I just count their feet and divide an adjective. For example:
by four,” “laying a square egg”
Of the man so tall he must climb a ladder to shave himself, “growing so fast”
“chipping rust with rubber
Of the runt so teeny-weeny it takes two men and a boy to see him,
hammers”
20 Of mosquitoes: one can kill a dog, two of them a man,
Of a cyclone that sucked cookstoves out of the kitchen, up the chimney flue, and on
to the next town,
My Notes
Of the same cyclone picking up wagon-tracks in Nebraska and dropping them over
in the Dakotas,
Of the hook-and-eye snake unlocking itself into forty pieces, each piece two inches
long, then in nine seconds flat snapping itself together again,
Of the watch swallowed by the cow—when they butchered her a year later the
© 2014 College Board. All rights reserved.

watch was running and had the correct time,

25 Of horned snakes, hoop snakes that roll themselves where they want to go, and
rattlesnakes carrying bells instead of rattles on their tails,
KEY IDEAS AND DETAILS
Of the herd of cattle in California getting lost in a giant redwood tree that had What allusions does the
hollowed out, author use? How might this
add to the humor?
Of the man who killed a snake by putting its tail in its mouth so it swallowed itself,
Of railroad trains whizzing along so fast they reach the station before the whistle,
Of pigs so thin the farmer had to tie knots in their tails to keep them from crawling
through the cracks in their pen,

30 Of Paul Bunyan’s big blue ox, Babe, measuring between the eyes forty- two
ax-handles and a plug of Star tobacco exactly,
Of John Henry’s hammer and the curve of its swing and his singing of it as
“a rainbow round my shoulder.”

Unit 4 • The Challenge of Comedy 275

 ACTIVITY 4.9
Elements of Humor: Hyperbole
continued

After Reading
My Notes 4. In a collaborative discussion, share your comments and questions and the lines
you found most interesting, strange, or humorous.
5. Add a line or two to Sandburg’s poem, using hyperbolic language and a
participial adjective phrase. Consider using an allusion for humorous effect.
Note how each line of hyperbole begins the same way.

During Reading
6. Mark the text to indicate evidence of hyperbole and use of verbals.

ABOUT THE AUTHOR

Ted Hughes (1930–1998) is considered to be one of the twentieth century’s
greatest poets. He wrote almost 90 books during his long career and won
numerous prizes and fellowships. In 1984, he was appointed England’s
poet laureate.

Poetry

“
Mooses
by Ted Hughes
”

The goofy Moose, the walking house frame,

Is lost

© 2014 College Board. All rights reserved.

In the forest. He bumps, he blunders, he stands.
KEY IDEAS AND DETAILS With massy bony thoughts sticking out near his ears—
Look for examples of parallel
structure and repetition in the 5 Reaching out palm upwards, to catch whatever might be
poem. How do these stylistic falling from heaven—
choices make the moose He tries to think,
appear “goofy”?
Leaning their huge weight
On the lectern of his front legs.

276 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.9
continued

He can’t find the world!

10 Where did it go? What does a world look like? My Notes

The Moose
Crashes on, and crashes into a lake, and stares at the
mountain and cries:
‘Where do I belong? This is no place!’

He turns dragging half the lake out after him

15 And charges the crackling underbrush

He meets another Moose

He stares, he thinks: ‘It’s only a mirror!’
Where is the world?’ he groans. ‘O my lost world!

And why am I so ugly?

Literary Terms
Alliteration is the repetition
20 ‘And why am I so far away from my feet?’ of consonant sounds at the
beginnings of words that
He weeps. are close together.
Hopeless drops drip from his droopy lips.
The other Moose just stands there doing the same.
Two dopes of the deep woods.

After Reading
7. How does the author use hyperbole for effect?
© 2014 College Board. All rights reserved.

8. What is the speaker’s tone? Does it shift throughout the poem?

9. How does Hughes’s use of verbals, especially participial phrases, contribute to

the hyperbole in the poem? Quote specific lines and analyze the use of verbals
and hyperbole.

Unit 4 • The Challenge of Comedy 277

ACTIVITY 4.9
Elements of Humor: Hyperbole
continued

Check Your Understanding

My Notes Most of the texts you have read so far depend on exaggeration and hyperbole
to make readers smile, chuckle, and laugh. Return to the humorous print texts
you have read in this unit and identify examples of hyperbole. In a collaborative
discussion, share the examples you locate and discuss how hyperbole creates a
humorous effect. Use precise diction in your discussion. Record examples shared
by your peers in the graphic organizer.

Title: Title:

Example: Example:

Hyperbole
Title: Title:

Example: Example:

© 2014 College Board. All rights reserved.

278 SpringBoard® English Language Arts Grade 8

 Elements of Humor: Comic Wordplay ACTIVITY
4.10

Learning Targets
• Analyze the use of wordplay in poetry and drama. LEARNING STRATEGIES:
Marking the Text, Discussion
• Collaborate to explore wordplay in previously studied texts. Groups, RAFT

Before Reading
1. What is a pun? What are some examples?
My Notes

2. What is a one-liner? What are some examples?

During Reading
3. Mark the text by highlighting at least three humorous puns that you can visualize.

ABOUT THE AUTHOR

Jack Prelutsky (b. 1940) says that he has always enjoyed playing with
language, although he did not always like poetry. He rediscovered poetry in
© 2014 College Board. All rights reserved.

his twenties, when he began writing humorous verse for children. Since then,
he has written more than fifty poetry collections. His poems are sometimes
silly, sometimes playful, sometimes frightening, but always entertaining.
In 2006, the Poetry Foundation named him the first-ever Children’s Poet
Laureate. Prelutsky also studied music, and he has set several of his poems
to music for the audio versions of his poetry anthologies.

Unit 4 • The Challenge of Comedy 279

ACTIVITY 4.10
Elements of Humor: Comic Wordplay
continued

WORD Poetry

Is Traffic Jam Delectable?

CONNECTIONS
Roots and Affixes
The word clamor comes from
a Latin word meaning “to call by Jack Prelutsky
out.” The root -clam-, also
spelled -claim-, appears in
Is traffic jam delectable,
exclaim and exclamation,
proclaim and proclamation, does jelly fish in lakes,
and acclaim and acclamation. does tree bark make a racket,
does the clamor rattle snakes?

5 Can salmon scale a mountain,

My Notes
does a belly laugh a lot,
do carpets nap in flower beds
or on an apricot?
Around my handsome bottleneck,

10 I wear a railroad tie,

my treasure chest puffs up a bit,
I blink my private eye.
I like to use piano keys
to open locks of hair,

15 then put a pair of brake shoes on

KEY IDEAS AND DETAILS
Puns depend on an audience’s and dance on debonair.
understanding of both possible I hold up my electric shorts
meanings of a word or phrase.

© 2014 College Board. All rights reserved.

with my banana belt,
Why might someone older be
more likely to understand what then sit upon a toadstool
a “tape deck” or “brake shoes”
are? What does this indicate 20 and watch a tuna melt.
about the level of comedy I dive into a car pool,
involved in puns?
where I take an onion dip,
then stand aboard the tape deck
and sail my penmanship.

25 I put my dimes in riverbanks

and take a quarterback,
and when I fix a nothing flat
I use a lumberjack.
I often wave my second hand

30 to tell the overtime,

before I take my bull pen up
to write a silly rhyme.

280 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.10
continued

After Reading
4. Sketch at least one of the puns in the margin of the poem or on a separate My Notes
piece of paper.
5. In your discussion groups, share your sketches and read aloud the
corresponding pun. Explain the two meanings of the word or phrase that
creates the pun. Be sure to use precise diction and discuss how the author uses
puns for humorous effect.
6. As a group, review the poem to look for puns that you didn’t understand. Try to
collaborate to make meaning of these.

Analyzing a Humorous Skit

You will next read and/or listen to the skit “Who’s on First?” by Abbott and
Costello.

Before Reading
7. Based on the title of the skit, what do you think is the subject?

During Reading
8. Sketch a baseball diamond on a separate piece of paper. As you read the skit,
try to fill in the names of each of the players mentioned.

After Reading
9. Write answers to the following questions about “Who’s on First?” and compare
them with a peer.
• Why are Abbott and Costello having difficulty understanding each other?
© 2014 College Board. All rights reserved.

• How does the wordplay create humor at a high level of comedy ?

10. Add your notes about comic language (hyperbole and wordplay) to the
Elements of Humor graphic organizer in Activity 4.11.

Check Your Understanding

Expository Writing Prompt: Choose one of the texts from this or the previous
activity. Explain how the writer uses comic language (hyperbole and/or wordplay)
to convey a universal truth. Be sure to:
• Establish a controlling idea and support it with textual evidence (quotes from
the text) and commentary explaining the humor.
• Use transitions to create cohesion and clarify the relationships among ideas
and concepts.
• Use verbals and precise diction, including the correct use of humorous elements.

Unit 4 • The Challenge of Comedy 281

ACTIVITY Planning and Revising an Analysis
4.11 of a Humorous Text
Learning Targets
LEARNING STRATEGIES: • Draft and revise an essay analyzing a humorous short story.
Graphic Organizer, Marking
the Text, Note-taking, Drafting, • Evaluate a sample student essay.
Discussion Groups
Before Reading
1. Review the Elements of Humor graphic organizer below and rank how
comfortable you are at understanding the elements (#1 being most comfortable,
#2 being second most, etc.).

Elements of Humor
Humorous Definition Level of Comedy Examples from
Element Texts
Comic Characters A caricature is a pictorial, written, or
and Caricatures acted representation of a person that
exaggerates characteristics or traits for
comic effect.
Comic Comic situations are when characters are
Situations and in an unlikely situation or are victims of
Situational Irony circumstances and react in
a comical way.
Situational irony involves a contrast
between what characters or readers might
reasonably expect to happen and what
actually happens.
Comic Language: Hyperbole is extreme exaggeration used
Hyperbole for emphasis, often used for comic effect.

© 2014 College Board. All rights reserved.

Comic Language: A one-liner is a short joke or witticism
Wordplay expressed in a single sentence.
• One-liners A pun is the humorous use of a word or
• Puns words to suggest another word with the
same sound or different meaning.

282 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.11
continued

During Reading
2. Your teacher will assign a text for you to analyze.
• Closely read (or reread) the text.
• Mark the text by highlighting evidence of humorous elements.
• Annotate the text using precise diction to describe the intended humor and
humorous effect.

After Reading
3. Collaborate with your group to complete the graphic organizer below and on the
next pages.

Title: ________________________________ Author: __________________

Humorous Element Examples from Text Comedic Effect

Comic Characters and Caricatures

Comic Situations and

Situational Irony
© 2014 College Board. All rights reserved.

Comic Language:
Hyperbole

Comic Language: Wordplay

• One-liners
• Puns

Unit 4 • The Challenge of Comedy 283

ACTIVITY 4.11
Planning and Revising an Analysis
continued of a Humorous Text

Level of Comedy Explanation Evidence

Description of Humor and Examples from Text Explanation

Intended Effect (Commentary)

© 2014 College Board. All rights reserved.

Universal Truth (Theme) Evidence from Text

284 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.11
continued

Reading and Analyzing a Sample Essay

An effective essay includes a clear introduction to the topic, body paragrphas that My Notes
expand on the thesis and provide evidence and commentary to support it, and a
conclusion that provides closure for the topic.

Introduction
• Begin with a hook.
• Set the context for the essay.
• Establish a controlling idea (thesis statement) that directly responds to the prompt.

Body Paragraphs
• Begin with a topic sentence related to the thesis.
• Include evidence from the text (paraphrased and directly quoted).
• Provide commentary that uses precise diction to describe humor and the
intended effect.
• Use a variety of transitions to connect ideas and create coherence.

Concluding Paragraph
• Discuss the universal truth revealed through the text.
• Evaluate the effectiveness of the author’s use of humor to communicate this truth.

During Reading
4. You will next read a sample student essay. Mark the text of the student essay
as follows:
• Label the elements that are listed in the Key Ideas and Details; for example,
write the words “topic sentence” next to the topic sentence.
• Highlight precise diction and academic vocabulary, especially humorous
vocabulary.
© 2014 College Board. All rights reserved.

• Add revision suggestions.

Student Expository Essay

“ The Power of Pets ” KEY IDEAS AND DETAILS

Identify and highlight
the hook, context, and
controlling idea or thesis in
by Isha Sharma (an 8th grade student) the introduction.

Every child has gone through a phase in life when they have a sudden fixation with
getting a pet, and parents often have to go through a lot of trouble in order to appease
the child, at least until the obsession is replaced with another. In the light-hearted essay,
“I’ve got a few pet peeves about sea creatures,” Dave Barry uses hyperbole and verbal
irony to show how a parent will often go through great lengths to satisfy his child, often
hoping that the child will learn something in the process.

Unit 4 • The Challenge of Comedy 285

 ACTIVITY 4.11
Planning and Revising an Analysis
continued of a Humorous Text
To point out the often ridiculous experiences parents go through for their children,
My Notes Barry uses hyperbole to emphasize how complicated getting a pet fish can be. For
example, he explains first how a “pet” beetle under his daughter’s “loving care and
feeding . . . thrived for maybe nine seconds before expiring like a little six legged parking
meter” (1). The additional use of simile and the exaggerated amount of time adds to
the humor, as in any case, one’s “loving care and feeding” should not cause the death of
anything so quickly, no matter how terrible the “care” could actually be. The explanation
of the parents replacing each beetle with another shows how willing parents are to
support their children no matter how ridiculous the circumstances. Furthermore, Barry
KEY IDEAS AND DETAILS calls the fish he bought “so nonviolent that in the wild, worms routinely beat them up
In the second paragraph (body and steal their lunch money” (2). As known to all people, it is fish that eat worms and
paragraph), identify and label not the other way around. This is hyperbolic because worms are not known for “beating
the topic sentence, supporting fish up” and animals do not have money, lunch money included. This also ties back to
detail, commentary, and a metaphor/analogy Barry made that “an aquarium is a powder keg that can explode in
transitions. deadly violence at any moment just like . . . junior high” (2). Both of these situations are
highly exaggerated. Through the use of hyperbole, Barry is able to convey how parents
KEY IDEAS AND DETAILS often feel about their struggle even in simple situations, to which a child might react to
In the third paragraph, them as being overdramatic.
identify and label the topic Also, Barry uses verbal irony/sarcasm to vent and display his frustration, which
sentence, supporting detail, proves furthermore the lengths he is going to help his daughter. For instance, when
commentary, and transitions. complaining about the aggressive nature of fish, he says they could become aggressive
if “it was a month containing the letter ‘R’, of if they hear the song “Who Let the
Dogs Out”” (2). Months and songs are all aspects of human life, it is unlikely that
fish will ever have fish months or fish songs. This adds to the sarcastic tone of the
writer, which shows that even through his frustrations, he is struggling to find the
right choice for his daughter, no matter how much of a nuisance it is to make it. Also,
Barry uses sarcasm when explaining the variety of needs for a fish tank so that “the
fish would be intellectually stimulated and get into a decent college” (1). The author,
as with most intellectual people, knows that fish do not have colleges, and seeing that
their intelligence capacity is smaller than a human’s, they cannot be “intellectually
stimulated.” The author uses this verbal irony to point out that even though the needs
of a fish are not as significant as the needs of a human, caring for them still requires

© 2014 College Board. All rights reserved.

a lot of effort. Clearly, the author chooses to go through this effort for his daughter.
The usage of verbal irony in this piece further points out the “struggles” of a father to
appease his child.
KEY IDEAS AND DETAILS Even in the most trivial instances, the parent will go though many obstacles to help
In the concluding paragraph, his child, often in the hope that the child will learn something along the way. Whether
identify and label the or not the child actually learns this is questionable, yet the parent’s effort should not
universal truth. go unnoticed.

286 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.11
continued

After Reading
5. Work with your writing group to revise the student essay. You may want to GRAMMAR USAGE
Pronoun Antecedents
review the roles and responsibilities of writing group members in Activity 1.8,
page 36. Select one or more of the following: A pronoun usually refers to
• Write a new introduction. a noun or pronoun earlier
in the text (its antecedent).
• Write a third support paragraph. The pronoun must agree in
• Write a new conclusion. number (singular or plural)
and gender (male or female)
with the person or thing to
Check Your Understanding
which it refers. For example:
Analyze the effectiveness of this essay by evaluating each element: introduction, “. . . the author chooses to
body paragraphs, and conclusion. go through this effort for his
daughter.”
The “author” is a reference
to Dave Barry, so the correct
pronoun is “his.” In your own
writing, be sure to make your
antecedents clear to your
reader and use appropriate
pronouns for agreement.

My Notes
© 2014 College Board. All rights reserved.

Unit 4 • The Challenge of Comedy 287

EMBEDDED Writing an Analysis of a Humorous Text
ASSESSMENT 1

Assignment
My Notes Write an essay that explains how an author creates humor for effect and uses it to
communicate a universal truth.

Planning and Prewriting: Take time to make a plan for your essay.
• What reading strategies (such as marking or diffusing the text) will help you
take notes on the author’s use of humor as you read the text?
• How can you correctly identify the level of comedy, elements of humor, and
intended comedic effect on the reader?
• What prewriting strategies (such as outlining or graphic organizers) could help
you explore, focus, and organize your ideas?

Drafting: Write a multi-paragraph essay that effectively organizes your ideas.

• What are the elements of an effective introductory paragraph you will write?
• How will you develop support paragraphs with well-chosen examples (evidence)
and thoughtful analysis (commentary) about at least two elements of humor?
• How will you use transitions to create cohesion?
• How will your conclusion support your ideas, identify and analyze the level(s) of
comedy, and evaluate the author’s effectiveness at communicating a universal truth?

Evaluating and Revising the Draft: Create opportunities to review and

revise your work.
• During the process of writing, when can you pause to share and respond with
others in order to elicit suggestions and ideas for revision?
• How can the Scoring Guide help you evaluate how well your draft meets the
requirements of the assignment?
• How can you use a precise vocabulary of humor to enhance your critical
analysis?

© 2014 College Board. All rights reserved.

Checking and Editing for Publication: Confirm your final draft is ready
for publication.
• How will you proofread and edit your draft to demonstrate command of the
conventions of standard English capitalization, punctuation, spelling, grammar,
and usage?
• Did you effectively use verbals?
• Did you establish and maintain a formal style?

Reflection
Technology TIP: After completing this Embedded Assessment, think about how you went about
accomplishing this task, and respond to the following:
Consider using an approved • How has your understanding of how humor is created developed during this unit?
social media channel such
as Edmodo or Wikispaces to • Do you think your sense of humor will change as you mature? Explain.
collaboratively discuss your
text online before drafting
your essay.

288 SpringBoard® English Language Arts Grade 8

 EMBEDDED
ASSESSMENT 1

SCORING GUIDE
Scoring
Exemplary Proficient Emerging Incomplete
Criteria
Ideas The essay The essay The essay The essay
• establishes and fully • establishes and • establishes and • lacks a controlling
maintains a clearly maintains a unevenly maintains a idea
focused controlling controlling idea controlling idea that • fails to develop the
idea about the use about the use of may be unclear or topic with details,
of humor to convey a humor to convey a unrelated to the use examples, and
universal truth universal truth of humor to convey a textual evidence
• develops the topic • develops the topic universal truth • does not provide
with relevant details, with adequate • develops the topic commentary or
examples, and details, examples, with inadequate analysis.
textual evidence and textual evidence details, examples,
• uses insightful • uses sufficient and textual evidence
commentary to commentary to • uses insufficient
analyze the effect of analyze the effect of commentary to
humorous elements. humorous elements. analyze the humor.

Structure The essay The essay The essay The essay

• introduces the topic • introduces the topic • provides a weak or • lacks an introduction
and context in an and context clearly partial introduction • has little or
engaging manner • uses an • uses a flawed no obvious
• uses a well-chosen organizational or inconsistent organizational
organizational structure that organizational structure
structure that progresses logically structure • uses few or no
progresses smoothly to connect ideas • uses inappropriate, transitions
to connect ideas • uses appropriate repetitive, or basic • lacks a conclusion.
• uses a variety of transitions to create transitions
effective transitional cohesion and • provides a weak
strategies. link ideas or disconnected
© 2014 College Board. All rights reserved.

• provides a satisfying • provides a logical conclusion.

conclusion. conclusion.

Use of The essay The essay The essay The essay

Language • uses precise diction • uses some precise • uses diction • uses vague or
and language to diction to maintain a that creates an confusing language
maintain an academic generally appropriate inappropriate voice • lacks command of
voice and formal style voice and style and style the conventions of
• demonstrates • demonstrates • demonstrates partial standard English
command of the adequate command or inconsistent capitalization,
conventions of of the conventions command of the punctuation, spelling,
standard English of standard English conventions of grammar, and usage.
capitalization, capitalization, standard English
punctuation, spelling, punctuation, spelling, capitalization,
grammar, and usage. grammar, and usage. punctuation, spelling,
grammar, and usage.

Unit 4 • The Challenge of Comedy 289

ACTIVITY Previewing Embedded Assessment 2
4.12

Learning Targets
LEARNING STRATEGIES: • Reflect on learning and make connections.
QHT, Close Reading,
Paraphrasing, Graphic Organizer • Identify the knowledge and skills needed to complete Embedded Assessment 2
successfully.

Making Connections
My Notes You have written an analysis of a humorous text, which required you to know
and understand how a writer uses words, characters, and situations to create a
humorous effect. Now you will have an opportunity to understand humor from a
different perspective—that of a performer.

Essential Questions
1. Reflect on your understanding of the first Essential Question: How do writers
and speakers use humor to convey a truth? How has your understanding of
humor changed over the course of this unit?

2. Think about the Essential Question of the second half of this unit and respond
to it: What makes an effective performance of a Shakespearean comedy?

Developing Vocabulary
3. Reflect on and list all the new humor-related vocabulary you have learned.

4. Re-sort the unit Academic Vocabulary and Literary Terms using the QHT strategy.

© 2014 College Board. All rights reserved.

Q (unfamiliar) H (familiar) T (very familiar)

290 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.12
continued

5. Compare this sort with your original sort. How has your understanding
changed? My Notes

6. Select a word from the chart and write a concise statement about your learning.
How has your understanding changed over the course of this unit?

Unpacking Embedded Assessment 2

Closely read the Embedded Assessment 2 assignment:
Present your assigned scene in front of your peers to demonstrate your
understanding of Shakespeare’s text, elements of comedy, and performance.

Then, using the Scoring Guide on page 314, work with your class to paraphrase
the expectations and create a graphic organizer to use as a visual reminder of the
required concepts and skills. Copy the graphic organizer for future reference.
After each activity, use this graphic to guide reflection about what you have
learned and what you still need to learn in order to be successful in completing the
Embedded Assessment.

Selecting a text for Independent Reading

To support your learning in the second half of the unit, you might choose another
Shakespearean comedy to read on your own. This will help you become more
familiar with Shakespeare’s language and the sources of his comedy. Suggestions
include The Comedy of Errors, Love’s Labours Lost, and Much Ado About Nothing.
© 2014 College Board. All rights reserved.

Unit 4 • The Challenge of Comedy 291

ACTIVITY Creating Context for
4.13 Shakespearean Comedy
Learning Targets
LEARNING STRATEGIES: • Research to build background knowledge about Shakespeare.
Note-taking, Marking the Text,
Skimming/Scanning, • Collaborate to research, discuss, and share prior and new knowledge.
Discussion Groups • Make connections to establish context for the play A Midsummer Night’s Dream.

Before Reading
1. Complete the sentence starters about William Shakespeare in the first column
below. Support your responses to the statements, and note any questions you
have about him.

Who Is Shakespeare? How Do I Know This? Questions I Have

Shakespeare was an author of plays I have seen a movie based on one of How many of his other works have
and poetry. his plays, called Romeo and Juliet. been made into movies?

Shakespeare lived . . .

Shakespeare accomplished . . .

© 2014 College Board. All rights reserved.

Shakespeare . . .

292 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.13
continued

2. Paraphrase this line spoken by Lysander in A Midsummer Night’s Dream. Do you

agree or disagree? Explain. My Notes
“The course of true love never did run smooth.”

Understanding Plot
3. Read these scenarios to determine how you would respond. Make notes about
your reactions in the My Notes space.

Scenario One
The person you are in love with has invited you to your high school dance.
Your parents, who disapprove of this person, lay down the law, saying, “You
are absolutely not allowed to attend the dance with this person. If you wish to
attend, you may go with X. Your choices are to go to the dance with X or not go
at all.” You are now faced with a dilemma. You are forbidden to go to the dance
with the person you love, but you are permitted to attend with X, who has been
in love with you forever and whom your parents adore.
Consider this: Would you still go to the dance under these conditions? Why or
why not?

Scenario Two
Since you were forbidden by your parents to attend the dance with the person
you love, the two of you devise a plan to sneak out and attend the dance anyway.
All of a sudden you notice that your love is nowhere in sight. You begin to search
the room for her/him. Eventually, you find her/him in the corner of the room
talking with your best friend. You happily interrupt the conversation only to be
horrified to discover that your love is confessing her/his love to your best friend.
Consider this: What would you do if you saw your girlfriend/boyfriend
confessing her/his love to your best friend? How would you feel?
© 2014 College Board. All rights reserved.

Scenario Three
You confront your love after seeing her/him kiss your best friend. Your
girlfriend/boyfriend loudly announces that she/he is no longer interested in you
and no longer wants anything to do with you. Your best friend seems confused
about the situation as she/he has always been in love with your boyfriend or
girlfriend, but the feeling was never shared.
Consider this: What would you do if your girlfriend/boyfriend treated you this
way? Would you be mad at your best friend?

Unit 4 • The Challenge of Comedy 293

ACTIVITY 4.13
Creating Context for Shakespearean
continued Comedy
Connection to the Play
Literary Terms In Shakespeare’s comedy A Midsummer Night’s Dream, four characters—Lysander,
A comedy is a dramatic Hermia, Helena, and Demetrius—are entangled in a very complicated love
work that is light and often relationship that leaves them open to all sorts of comical mishaps.
humorous or satirical in tone
and that usually contains 4. Using the following information about the key characters from the play, create
a happy resolution of the a visual that shows the relationship among the characters listed below. Practice
thematic conflict. pronouncing the characters’ names. Study the pronunciation of the names,
noting the long and short vowel sounds and silent letters as a guide to facilitate
your oral pronunciation.

Character’s Name Pronunciation I am . . . I love . . .

Hermia Hér-me-uh The daughter of a wealthy Lysander
nobleman
Lysander Lie-sánd-er A prominent businessman Hermia
Demetrius De-mé-tree-us Hermia’s father’s choice Hermia too!
for her husband
Helena Héll-en-uh Hermia’s best friend Demetrius

Visual Representation of Characters’ Relationships

© 2014 College Board. All rights reserved.

Check Your Understanding

Writing Prompt: Using the information from the three scenarios, write your own
scenario for the four key characters described above. Be sure to:
• Incorporate an element of comedy examined earlier in this unit.
• Provide detail about the situation.
• Use precise diction.

294 SpringBoard® English Language Arts Grade 8

 Insulting Language ACTIVITY
4.14

Learning Targets
• Read closely to understand the meaning of Shakespeare’s language. LEARNING STRATEGIES:
Brainstorming, Close
• Prepare a dramatic text with proper inflection, tone, gestures, and movement. Reading, Marking the Text,
Rehearsal, Role Playing
Decoding Shakespeare’s Language
Note that punctuation marks signal tone of voice, a crucial element of performance.
“Hang off, thou cat, thou burr! Vile thing, let loose,
Or I will shake thee from me like a serpent.”

1. Use close reading to understand the meaning of each line below. Then, write a
paraphrase of your interpretation.

Character Quote/Insult Paraphrase (Modern English)

Lysander says to Hermia . . . “Get you gone, you dwarf,
You minimus of hind’ring
knotgrass made . . .”

Helena says to Hermia . . . “I will not trust you,

Nor longer stay in your
curst company.”

Lysander says to Hermia . . . “Out, tawny Tartar, out!

Out, loathed medicine!
© 2014 College Board. All rights reserved.

O, hated, potion, hence!”

Hermia says to Helena . . . “You juggler, you canker-blossom!

You thief of love!
What, have you come by night
And stol’n my love’s heart from him?

Helena says to Hermia . . . “Fie, fie! You counterfeit, you

puppet, you!”

Unit 4 • The Challenge of Comedy 295

ACTIVITY 4.14
Insulting Language
continued

2. Once you have determined the meaning of the lines, select one and complete
Literary Terms the chart below. Rehearse your line in preparation for a performance. Then, role
Performance is acting a role play by becoming that character and feeling that emotion. Move throughout
or telling a story or other piece the room and deliver your insult with flair. Be sure to allow time for peers to
for an audience. react to your delivery.

Write the insult you What inflection will you How will you alter your What gestures/
have chosen below. use? What words will tone when you deliver movements will you use
you stress when you your line? to enhance your line?
speak your lines?

3. What tone of voice do people usually use when delivering an insult? What
GRAMMAR USAGE emotions might someone be feeling when they insult another person, and why?
Punctuation
Punctuation gives clear clues
as to how lines should be

© 2014 College Board. All rights reserved.

performed, particularly in Check Your Understanding
poetry and plays.
Reflect on the process of reading Shakespeare’s language and understanding of
An exclamation point
the text. Respond to the following questions:
shows surprise or extreme
happiness or anger. • What resources might you use to help interpret his language?
A question mark shows • Was your preparation to perform Shakespeare’s lines effective?
confusion on the part of • Did you deliver your lines as effectively as you planned? Explain.
the speaker or shows that
the speaker is questioning • What might you do next time to improve your delivery?
another character’s actions.
A comma marks a pause,
usually for dramatic effect.
A semicolon marks a pause,
usually one that is longer
than a comma pause, without
the finality of a period.

296 SpringBoard® English Language Arts Grade 8

 Close Reading of a Scene ACTIVITY
4.15

Learning Targets
• Collaborate to make meaning of a scene. LEARNING STRATEGIES:
Skimming/Scanning,
• Summarize and visualize the text to demonstrate understanding. Diffusing, Paraphrasing,
Close Reading, Summarizing,
Before Reading Rereading, Visualizing
1. Work collaboratively as a class to practice close reading of a scene from
A Midsummer Night’s Dream. Skim and scan to diffuse the text. Circle unfamiliar
words, and then use reference books or online reference sources to define the
words in context. Write synonyms for unfamiliar words and paraphrase more My Notes
difficult phrases into modern English.

During Reading
2. As you read the text, use close reading to understand the text. Also note the use
of punctuation, especially the apostrophe to indicate missing letters in words.

ABOUT THE AUTHOR

Little is known about the early life of William Shakespeare (1564–1616)
except that he was born and grew up in Stratford-on-Avon in England.
What is known is that he went to London as a young man and became an
actor and playwright. He wrote thirty-seven plays (comedies, tragedies, and
histories) and is considered one of the greatest playwrights who ever lived.
Performances of his plays occur regularly in theaters around the world.

Drama

Dre a m
fr o m
A Midsummer
© 2014 College Board. All rights reserved.

Night’s
Act 3, Scene 2, Lines 282–305
by William Shakespeare

HERMIA Oh me! you juggler! you canker-blossom!

You thief of love! What, have you come by night
And stolen my love’s heart from him? GRAMMAR USAGE
Apostrophe
HELENA Fine, i’faith! Just as an apostrophe is
285 Have you no modesty, no maiden shame, used in modern English
to mark the absence of a
No touch of bashfulness? What, will you tear letter, so it was used in
Impatient answers from my gentle tongue? Shakespeare’s time.
Fie, fie! you counterfeit, you puppet, you! Example: “Fine, i’faith!”
Translation: “Fine, in faith!”

Unit 4 • The Challenge of Comedy 297

ACTIVITY 4.15
Close Reading of a Scene
continued

HERMIA Puppet? Why so? Ay, that way goes the game.
My Notes 290 Now, I perceive that she hath made compare
Between our statures; she hath urged her height;
And with her personage, her tall personage,
Her height, forsooth, she hath prevail’d with him.
And are you grown so high in his esteem;
295 Because I am so dwarfish and so low?
How low am I, thou painted maypole? speak;
How low am I? I am not yet so low
But that my nails can reach unto thine eyes.

HELENA I pray you, though you mock me, gentlemen,

KEY IDEAS AND DETAILS 300 Let her not hurt me: I was never curst;
How does Shakespeare
I have no gift at all in shrewishness;
provide clues in the text
about what a director should I am a right maid for my cowardice:
consider when casting Helena Let her not strike me. You perhaps may think,
and Hermia?
Because she is something lower than myself,
305 That I can match her.

HERMIA Lower! hark, again.

After Reading
3. Write a summary of this scene.

4. Reread the text orally with your group.

© 2014 College Board. All rights reserved.

5. As you listen to the text being read a third time, visualize how the characters
would be moving, gesturing, and speaking. Write comments, draw pictures, or
stand to act what you are visualizing.

Check Your Understanding

Explain how this scene is intended to be comical on stage. What elements of
comedy are represented?

298 SpringBoard® English Language Arts Grade 8

 Acting Companies and Collaborative ACTIVITY

Close Reading 4.16

Learning Targets
• Establish and follow collaborative norms. LEARNING STRATEGIES:
Close Reading, Skimming/
• Collaborate to analyze and rehearse a dramatic scene. Scanning, Rereading,
Paraphrasing, Summarizing,
Before Reading Marking the Text, Rehearsing
1. Quickwrite: Describe the attitudes and behaviors (norms) of a positive and
productive member of an acting group.

My Notes

2. In the spaces below, write the names of the members of your acting company
for the roles they will play. Write the scene you will perform, the names of the
characters, and who will play each character.

Acting Company Members

Director:

Actors:

Scene:
© 2014 College Board. All rights reserved.

Characters:

During Reading
3. You will next be assigned a scene from A Midsummer Night’s Dream that
your acting group will perform. Work collaboratively in your acting group to
make meaning of the text. Follow these steps to guide your close reading and
annotation of the text. You will be responsible for taking notes on your script
and for using this script and notes as you plan and rehearse your scene.

Unit 4 • The Challenge of Comedy 299

ACTIVITY 4.16
Acting Companies and Collaborative
continued Close Reading
• Skim/scan the text and circle unfamiliar words. Use a dictionary or thesaurus to
My Notes replace each unfamiliar word with a synonym.
• Reread the scene and paraphrase the lines in modern English.
• Summarize the action. What is happening in the scene?
• Reread the scene and mark the text to indicate elements of humor (caricature,
situation, irony, wordplay, hyperbole).
• Mark the punctuation, and determine how the punctuation affects the spoken
lines. Discuss tone of voice and inflection.
• Analyze the movement in your scene:
What is each character doing?
When should characters enter and exit?
How should characters enter and exit?
What could you do to exaggerate the humor or create a humorous spin?
• Analyze the blocking in your scene, that is, the movement and placement of
characters as they speak:
Where is each character standing?
To whom is each spoken line addressed?

After Reading
4. Divide lines equally between group members. You may have to be more than
one character. One person in your group will be both a player (actor) and
the director.

Player (student’s name) Acting As (character’s name)

© 2014 College Board. All rights reserved.

Director:

300 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.16
continued

5. Rehearse your scene. To accurately portray your character and achieve your
intended comic effect, be sure to focus on the following: My Notes
• tone and inflection
• correct pronunciation of words
• facial expression and gesture

Check Your Understanding

Reflect on the process of reading your scene and determining the meaning of the
text, as well as your preparation for and rehearsal of the scene.
• What went well? What will you want to replicate in future rehearsals and in your
performance?
• What is a revision or something new you plan to do as you continue to rehearse?
© 2014 College Board. All rights reserved.

Unit 4 • The Challenge of Comedy 301

ACTIVITY Facing the Challenge of Performance
4.17

Learning Targets
LEARNING STRATEGIES: • Read and respond to an informational text about performance challenges.
Marking the Text, Discussion
Groups, Note-taking, Rehearsal • Memorize and rehearse lines for performance.

Before Reading
1. Quickwrite: What is the biggest challenge you face when it comes to performing
My Notes your comic scene?

During Reading
2. Following is a text with pointers on how to overcome stage fright. As you read,
write your personal response to each tip in the My Notes space as a guide for a
collaborative discussion.

Informational Text
Adapted from

Fear Busters
10 Tips to Overcome Stage Fright!
by Gary Guwe

F – Focus on your most powerful Experience

Think about your most memorable and powerful experience when you accomplished
a goal—maybe a time you worked extremely hard on a project or did well on a test.
Reflect on your most powerful experience and remember the feeling of confidence;
think about everything you did to create that feeling and how proud you felt after doing

© 2014 College Board. All rights reserved.

something challenging.

E – Energize Yourself
You have adrenaline pumping through your veins. Your heart is racing and your
muscles are all tensed up. Your eyes are shifty and you are unsettled. You are ready to
bolt for the door . . . or are you?
An adrenaline rush is a built-in defense mechanism for human beings. It is a natural
response mechanism that allows us to fight or take flight in the event of danger. That
explains the heightened sensitivity we have when we are nervous and excited.
Harness this nervous energy and make it work for you! One way we harness this
nervous energy is to move around. Your character will at some point move and gesture.
Use the times when your character can move and react as opportunities to dissipate
your nervous energy.

A – Acknowledge Your Fears

It is said that fear is here to protect us, not paralyze us. Don’t run away from being
afraid. Acknowledge it as being part of you . . . use it to identify the possible pitfalls,
then work to think about how you can avoid the pitfalls or how you can adjust or adapt
if something goes wrong during your performance.

302 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.17
continued

R – Relax . . . breathe!
Take deep breaths and regulate your breathing. Let the breathing regulate and calm My Notes
your heart rate. Practice breathing when you rehearse.

B – Believe in Yourself
Know that your performance has the potential for being a powerful and memorable
moment in your life. You will feel a huge sense of accomplishment and pride when you
successfully perform your scene. Be knowledgeable about your part and prepared with
your lines, and you will be ready to execute with confidence.

U – Understand the Audience

Understand that the audience is here to see you succeed. They know how it feels to
perform, and they’re not here to sabotage you, or poke fun at you . . . they’re here to
learn from you, to laugh, and to be entertained.

S – Smile!
Changing one’s physiology can impact one’s mental state.
Before your performance, when your character allows, and immediately afterwards—smile.
Soon enough, your body will tell your brain that you’re happy . . . and before you know it,
any fear you have will melt away.

T – Talk to Yourself
Many people will begin telling themselves various reasons why they will not be able to
perform well. Counter that.
Tell yourself that you will be able to do a good job and remind yourself of the reasons
why you can (“I am prepared.” “I will have fun.” “I know my peers will laugh when . . .”).

E – Enjoy yourself
Get out on the stage and seek to have fun!

R – Rejoice!
© 2014 College Board. All rights reserved.

Many people begin visualizing their worst case scenario as they ready themselves
to perform.
Visualize yourself victorious at the end of the performance. Think of the amount of
effort you will have put into preparing and think about the smiles and laughter which
you will create and the skills and concepts you will have practiced and mastered.

After Reading
3. Discuss the ten tips with your acting group. Which tips do you think most apply
to you? How will you use this advice?

Unit 4 • The Challenge of Comedy 303

ACTIVITY 4.17
Facing the Challenge of Performance
continued

Memorization Tips
My Notes Memorizing lines is a key part of delivering a good performance. Think about
school plays you may have seen. Characters who deliver their lines clearly and
without hesitation perform well.

Tip 1: Repeat, Repeat, Repeat, Repeat

Say the line over and over, but do it one word at time, returning to the beginning of
the line each time.

Example: Line 108 from Scene 5 : “If we offend, it is with our good will.”
“If.” “If we.” “If we offend.” “If we offend, it.” “If we offend, it is.” “If we offend,
it is with.” “If we offend, it is with our.” “If we offend, it is with our good.” “If we
offend, it is with our good will.”

Tip 2: Recite and Erase

Write your line(s) on a whiteboard, and then practice the words.
• Recite the line.
• Erase a word or phrase, and recite the missing piece from memory.
• Repeat the process until all the words have disappeared and you are saying the
line(s) from memory.

4. Discuss other tips your peers may have for memorizing lines. Then, select your
hardest line to memorize and use the memorization tips to work on it.

Check Your Understanding

Describe at least three strategies you can use to overcome stage fright. How will
you remind yourself of those strategies on the day of the performance?

© 2014 College Board. All rights reserved.

304 SpringBoard® English Language Arts Grade 8

 Working with Acting Companies and ACTIVITY

Focus Groups 4.18

Learning Targets
• Analyze a dramatic character to inform a performance. LEARNING STRATEGIES:
Rereading, Close reading,
• Collaborate to draft and implement a performance plan. Note-taking, Discussion
Groups, Rehearsal
Character Focus Groups
1. Players: Reread your lines, using the graphic organizer to guide a close reading
and analysis of your character.
Meet in a focus group, whose members are all acting as the same character,
to work collaboratively to interpret what the lines reveal about your character.
Take turns sharing your indivudual analysis and add new insights to the graphic
organizer.

I am playing:

Aspects of Characterization Detail from Text Interpretation

What does this reveal about
the character?
Appearance

Actions
© 2014 College Board. All rights reserved.

Words

Thoughts/Feelings

Unit 4 • The Challenge of Comedy 305

ACTIVITY 4.18
Working with Acting Companies and
continued Focus Groups
Others’ Reactions

Comedic Actions/Words

2. Take turns reading your character’s lines. Practice making the analysis of your
character come to life through your tone, inflection, facial expression, and
gestures.
3. Directors: Select key action sequences and consider possible stage directions
to determine how these scenes might be performed on stage.

Key Action Sequences Stage Directions and What This Reveals About the
Movement on Stage Overall Scene (Comedic Effect)

© 2014 College Board. All rights reserved.

306 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.18
continued

Acting Groups
4. Return to your acting group and share your analysis in the order that your
character speaks during your scene. Discuss the implications of each character’s
words and actions.
5. Develop a detailed performance plan by consulting the Scoring Guide. After
reviewing the Scoring Guide criteria, I need to . . .

6. Work with your acting company to complete the chart below and outline your
performance plan.

Performance Plan

Character Played By Contribution to Prop(s) Costume

Set Design
© 2014 College Board. All rights reserved.

Unit 4 • The Challenge of Comedy 307

ACTIVITY 4.18
Working with Acting Companies and
continued Focus Groups
7. Individually, synthesize all the details of your performance plan.

Element of Performance Ideas for Character Explanation

Blocking

Movements
Enter/Exit

Gestures

Facial Expression(s)

Emotion

Comedic Emphasis

8. Complete this section if you are the director. Share your plan with the members
My Notes of your acting company.
We want to create a ______ mood. To accomplish this goal, we will . . .

© 2014 College Board. All rights reserved.

I will introduce the acting company and scene by . . .
The scene will end when ______ so the audience will be left with a feeling of . . .
We will focus on the comic effects listed below to ensure that . . .
9. Use your performance plan to rehearse your scene to accurately portray your
character and achieve your intended comic effect. Be sure to focus on the
following:
• tone and inflection
• correct pronunciation of words
• gestures and movement

Check Your Understanding

Reflect on the process of planning for and rehearsing your scene.
• What went well? What will you want to replicate in future rehearsals and in your
performance?
• What part of your performance do you need to work on?
• What part of the performance does the group need to work on?

308 SpringBoard® English Language Arts Grade 8

 Same Text, Different Text ACTIVITY
4.19

Learning Targets
• Analyze film and text in order to compare/contrast and evaluate the LEARNING STRATEGIES:
Discussion Groups,
director’s choices.
Note-taking, Brainstorming,
• Generate and evaluate performance choices. Rehearsal

Viewing Shakespeare on Film

1. Unlike comparing novels to film versions, turning a play script into a movie
allows the viewer to make a close comparison. Think about the extent to which
the film scripts adhere to or stray from the original Shakespeare scene and how
the actors make the lines come alive through their voices, expressions,
and movements.
2. As you view the film or a scene from A Midsummer Night’s Dream, take notes on
what you observe. Use the graphic organizer for either “Actors” or “Directors.”

Actors:

Version of Physical Gestures Costume Interpretive Choices

A Midsummer and Movements and in the
Night’s Dream Makeup Delivery of Lines
(Director/Year)
Film 1:
© 2014 College Board. All rights reserved.

Film 2:

Unit 4 • The Challenge of Comedy 309

ACTIVITY 4.19
Same Text, Different Text
continued

Actors’ Questions:
My Notes 3. To what extent do these films stay faithful to or depart from the original script?
Why might these particular choices have been made, and what effect do these
choices have on the viewers’ understanding of the scene?

4. How do your character’s gestures, movements, and language achieve a comical

effect? What elements of humor did you see?

Directors:

Version of Placement of Actors Music or Other Set Design,

A Midsummer in Relationship Sound Effects Lighting,
Night’s Dream to Props, Scenery, Props
(Director/Year) Each Other
Film 1:

© 2014 College Board. All rights reserved.

Film 2:

310 SpringBoard® English Language Arts Grade 8

 ACTIVITY 4.19
continued

Directors’ Questions
5. How has the director stayed faithful to or departed from the scene as written by My Notes
Shakespeare? What effects do certain staging and technical choices have on the
viewers’ understanding of the scene?

6. How do the staging, set design, lighting, sound, and props achieve a comical
effect? What elements of humor did you see?

Check Your Understanding

Why would a film director choose to portray a scene differently than the way the
author wrote it? What effects might the director be trying to achieve?
© 2014 College Board. All rights reserved.

Unit 4 • The Challenge of Comedy 311

ACTIVITY Dress Rehearsal
4.20

Learning Targets
LEARNING STRATEGIES: • Participate in a dress rehearsal of a dramatic scene.
Rehearsal
• Reflect on strengths and challenges as a performer.

Dress Rehearsal
My Notes 1. Participate in a dress rehearsal in which you perform your scene in front of
another group. This rehearsal will help you determine what works well in your
performance and what does not.
2. When you are in the role of a small group audience, use the Scoring Guide
criteria to provide constructive feedback to enable the acting company to adjust
its performance.
3. Consider using these questions to start your feedback conversation:
• What elements of humor do you think you were most successful at using?
Least successful?
• Can you explain why you made the choice to . . .
• When did you feel the audience was most with you?
• When did you feel the audience was least connected to your performance?
• Did you ever have to adapt or adjust differently than you had planned?
Explain. How did it work out?

Dress Rehearsal Reflection

4. What went well? What will you want to replicate in your performance?

© 2014 College Board. All rights reserved.

5. What is the most significant thing you are going to do differently? How will
you prepare?

312 SpringBoard® English Language Arts Grade 8

 Performing Shakespearean Comedy EMBEDDED
ASSESSMENT 2

Assignment
Present your assigned scene in front of your peers to demonstrate your My Notes
understanding of Shakespeare’s text, elements of comedy, and performance.

Planning: As an acting company, prepare to perform your scene.

• How will you collaborate as a group on a performance plan that demonstrates
an understanding of Shakespeare’s humor?
• Does each member of the acting company understand the scene’s meaning as
well as his or her role?
• What elements of humor will your company focus on in performance?
• How will you emphasize these elements through the delivery of lines,
characterization, gestures, movements, props, and/or setting?
• How will you mark your script to help you pronounce words correctly, emphasize
words appropriately, and remember your lines and deliver them smoothly?
• How will you use blocking and movement to interact onstage and emphasize
elements of humor?

Rehearsing: Rehearse and revise your performance with your acting company.
• How will you show how characters, conflicts, and events contribute to a
universal idea?
• How will you introduce and conclude the scene?
• How can the Scoring Guide help you evaluate how well your performance meets
the requirements of the assignment?
• How can you give and receive feedback about your use of eye contact, volume,
and inflection in order to improve your own and others’ performances?

Performing and Listening: Perform your scene and participate as an

audience member:
© 2014 College Board. All rights reserved.

• How will you convey ideas and emotions through your performance?
• How will you take notes on the elements of humor emphasized in other
performances?

Reflection
After completing this Embedded Assessment, think about how you went about
accomplishing this task, and respond to the following:
• How did different performers emphasize the elements of humor in their scenes?
• Which performances were successful in eliciting a humorous response from the
audience, and what made them effective?

Technology TIP:

As part of the rehearsal

process, consider video
recording your performance.
Also, consider using a musical
recording to introduce and/or
conclude your performance.

Unit 4 • The Challenge of Comedy 313

EMBEDDED Performing Shakespearean Comedy
ASSESSMENT 2

SCORING GUIDE
Scoring
Exemplary Proficient Emerging Incomplete
Criteria

Ideas The performance The performance The performance The performance

• demonstrates a • demonstrates • demonstrates a • demonstrates little
deep understanding an adequate partial or uneven or no understanding
of Shakespeare’s understanding of understanding of Shakespeare’s
intended humor Shakespeare’s Shakespeare’s intended humor
• uses a variety of intended humor intended humor • lacks performance
effective performance • uses some • uses disconnected elements
elements (staging, performance or basic performance • does not show
set design, lighting, elements (staging, elements (staging, evidence of planning,
sound, props) for set design, lighting, set design, lighting, rehearsal, and
comic effect sound, props) for sound, props) reflection.
• shows evidence of comic effect • shows evidence
extensive planning, • shows evidence of of ineffective or
rehearsal, and sufficient planning, insufficient planning,
reflection. rehearsal, and rehearsal, and
reflection. reflection.

Structure The performance The performance The performance The performance

• demonstrates • demonstrates • demonstrates • demonstrates a
extensive evidence of adequate evidence of uneven or ineffective failure to collaborate
collaboration collaboration collaboration • provides no
• provides context • provides context • provides a partial or introduction
in an engaging in an appropriate weak introduction • does not
introduction introduction • communicates an communicate
• communicates a • communicates abrupt or illogical an ending to the
satisfying ending to an ending to the ending to the audience.
the audience. audience. audience.

© 2014 College Board. All rights reserved.

Use of The performer The performer The performer The performer
Language • makes effective • makes appropriate • makes undeveloped • makes undeveloped
interpretive choices interpretive choices or inappropriate or inappropriate
to deliver lines for to deliver lines for interpretive choices interpretive choices
comic effect and comic effect and to deliver lines to deliver lines
to convey meaning to convey meaning (including tone, • does not recognize
(including tone, (including tone, pronunciation, punctuation cues or
pronunciation, pronunciation, inflection, facial use them incorrectly
inflection, facial inflection, facial expressions, • does not have any
expressions, expressions, gestures, movement, lines memorized.
gestures, movement, gestures, movement, and blocking)
and blocking) and blocking) • uses punctuation
• uses punctuation • uses some cues unevenly or
cues consistently and punctuation cues to inconsistently
naturally to inform inform vocal delivery • demonstrates
vocal delivery • demonstrates an insufficient ability to
• memorizes lines fully adequate ability to memorize lines.
and accurately. memorize lines.

314 SpringBoard® English Language Arts Grade 8

© 2014 College Board. All rights reserved.

Resources
 SpringBoard Learning Strategies
READING STRATEGIES
STRATEGY DEFINITION PURPOSE
Chunking the Text Breaking the text into smaller, To reduce the intimidation factor when
manageable units of sense (e.g., words, encountering long words, sentences, or
sentences, paragraphs, whole text) by whole texts; to increase comprehension
numbering, separating phrases, drawing of difficult or challenging text
boxes
Close Reading Accessing small chunks of text to To develop comprehensive
read, reread, mark, and annotate key understanding by engaging in one or
passages, word-for-word, sentence-by- more focused readings of a text
sentence, and line-by-line
Diffusing Reading a passage, noting unfamiliar To facilitate a close reading of text, the
words, discovering meaning of unfamiliar use of resources, an understanding of
words using context clues, dictionaries, synonyms, and increased comprehension
and/or thesauruses, and replacing of text
unfamiliar words with familiar ones
Double-Entry Journal Creating a two-column journal (also To assist in note-taking and organizing
called Dialectical Journal) with a student- key textual elements and responses
selected passage in one column and the noted during reading in order to generate
student’s response in the second column textual support that can be incorporated
(e.g., asking questions of the text, into a piece of writing at a later time
forming personal responses, interpreting
the text, reflecting on the process of
making meaning of the text)
Graphic Organizer Using a visual representation for the To facilitate increased comprehension
organization of information from the text and discussion
KWHL Chart Setting up discussion that allows To organize thinking, access prior
students to activate prior knowledge knowledge, and reflect on learning
by answering “What do I know?”; sets to increase comprehension and
a purpose by answering “What do I engagement
want to know?”; helps preview a task
by answering “How will I learn it?”; and
reflects on new knowledge by answering
“What have I learned?”

© 2014 College Board. All rights reserved.

Marking the Text Selecting text by highlighting, To focus reading for specific purposes,
underlining, and/or annotating for such as author’s craft, and to organize
specific components, such as main idea, information from selections; to facilitate
imagery, literary devices, and so on reexamination of a text
Metacognitive Markers Responding to text with a system of To track responses to texts and use
cueing marks where students use a ? those responses as a point of departure
for questions about the text; a ! for for talking or writing about texts
reactions related to the text; and an *
for comments ,about the text and
underline to signal key ideas
OPTIC O (Overview): Write notes on what the To analyze graphic and visual images as
visual appears to be about. forms of text
P (Parts): Zoom in on the parts of the
visual and describe any elements or
details that seem important.
T (Title): Highlight the words of the title
of the visual (if one is available).
I (Interrelationships): Use the title as
the theory and the parts of the visual
as clues to detect and specify how the
elements of the graphic are related.

340 SpringBoard® English Language Arts Grade 8

 STRATEGY DEFINITION PURPOSE
OPTIC (continued) C (Conclusion); Draw a conclusion about
the visual as a whole. What does the
visual mean? Summarize the message of
the visual in one or two sentences.
Predicting Making guesses about the text by using To help students become actively
the title and pictures and/or thinking involved, interested, and mentally
ahead about events which may occur prepared to understand ideas
based on evidence in the text
Previewing Making guesses about the text by using To gain familiarity with the text, make
the title and pictures and/or thinking connections to the text, and extend prior
ahead about events which may occur knowledge to set a purpose for reading
based on evidence in the text
QHT Expanding prior knowledge of To allow students to build on their prior
vocabulary words by marking words with knowledge of words, to provide a forum
a Q, H, or T (Q signals words students for peer teaching and learning of new
do not know; H signals words students words, and to serve as a prereading
have heard and might be able to identify; exercise to aid in comprehension
T signals words students know well
enough to teach to their peers)
Questioning the Text* Developing levels of questions about To engage more actively with texts,
The AP Vertical Teams Guide text; that is, literal, interpretive, and read with greater purpose and focus,
universal questions that prompt deeper and ultimately answer questions to
for English (109–112) thinking about a text gain greater insight into the text; helps
students to comprehend and interpret
Paraphrasing Restating in one’s own words the To encourage and facilitate
essential information expressed in a comprehension of challenging text.
text, whether it be narration, dialogue, or
informational text
RAFT Primarily used to generate new text, this To initiate reader response; to facilitate
strategy can also be used to analyze a an analysis of a text to gain focus prior to
text by examining the role of the speaker creating a new text
(R), the intended audience (A), the format
of the text (F), and the topic of the
text (T).
Rereading Encountering the same text with more To identify additional details; to clarify
than one reading. meaning and/or reinforce comprehension
of texts
© 2014 College Board. All rights reserved.

SIFT* Analyzing a fictional text by examining To focus and facilitate an analysis of

The AP Vertical Teams Guide stylistic elements, especially symbol, a fictional text by examining the title
imagery, and figures of speech in order and text for symbolism, identifying
for English (17–20) to show how all work together to reveal images and sensory details, analyzing
tone and theme figurative language and identifying
how all these elements reveal tone and
theme
Skimming/Scanning Skimming by rapid or superficial reading To quickly form an overall impression
of a text to form an overall impression or prior to an in-depth study of a text; to
to obtain a general understanding of the answer specific questions or quickly
material; scanning focuses on key words, locate targeted information or detail in
phrases, or specific details and provides a text
speedy recognition of information
SMELL* • Sender-receiver relationship—What is To analyze a persuasive speech or essay
The AP Vertical Teams Guide the sender-receiver relationship? Who by focusing on five essential questions
are the images and language meant
for English (138–139) to attract? Describe the speaker of
the text.
• Message—What is the message?
Summarize the statement made in
the text.

SpringBoard Learning Strategies 341

 STRATEGY DEFINITION PURPOSE
SMELL* (continued) • Emotional Strategies—What is the
desired effect?
• Logical Strategies—What logic
is operating? How does it (or its
absence) affect the message?
Consider the logic of the images as
well as the words.
• Language—What does the language
of the text describe? How does it
affect the meaning and effectiveness
of the writing? Consider the language
of the images as well as the words.
SOAPSTone* Analyzing text by discussing and To facilitate the analysis of specific
identifying Speaker, Occasion, elements of non-fiction literary and
Audience, Purpose, Subject, and Tone informational texts and show the
relationship among the elements to
an understanding of the whole
Summarizing Giving a brief statement of the main To facilitate comprehension and recall
points or essential information of a text
expressed in a text, whether it
be narration, dialogue, or
informational text
Think Aloud Talking through a difficult passage or To reflect on how readers make meaning
task by using a form of metacognition of challenging texts and facilitate
whereby the reader expresses how he/ comprehension
she has made sense of the text
TP-CASTT* Analyzing a poetic text by identifying To facilitate the analysis of specific
The AP Vertical Teams Guide and discussing Title, Paraphrase, elements of a literary text, especially
Connotation, Attitude, Shift, Theme, and poetry. To show how the elements work
for English (94–99) Title again together to create meaning
Visualizing Forming a picture (mentally and/or To increase reading comprehension and
literally) while reading a text promote active engagement with text
Word Maps Using a clearly defined graphic To provide a visual tool for identifying
organizer such as concept circles or and remembering multiple aspects of
word webs to identify and reinforce words and word meanings
word meanings

© 2014 College Board. All rights reserved.

*Delineates AP strategy

WRITING STRATEGIES
STRATEGY DEFINITION PURPOSE
Adding Making conscious choices to enhance To refine and clarify the writer’s thoughts
a text by adding additional words, during revision and/or drafting
phrases, sentences, or ideas
Brainstorming Using a flexible but deliberate process of To generate ideas, concepts, or key
listing multiple ideas in a short period of words that provide a focus and/or
time without excluding any idea from the establish organization as part of the
preliminary list prewriting or revision process
Deleting Providing clarity and cohesiveness for To refine and clarify the writer’s thoughts
a text by eliminating words, phrases, during revision and/or drafting
sentences, or ideas
Drafting Composing a text in its initial form To incorporate brainstormed or initial
ideas into a written format

342 SpringBoard® English Language Arts Grade 8

 STRATEGY DEFINITION PURPOSE
Free writing Write freely without constraints in order To refine and clarify the writer’s
to capture thinking and convey the thoughts, spark new ideas, and/or
writer's purpose generate content during revision and/or
drafting
Generating Questions Clarifying and developing ideas by To clarify and develop ideas in a draft;
asking questions of the draft. May be used during drafting and as part of writer
part of self-editing or peer editing response

Graphic Organizer Organizing ideas and information To provide a visual system for organizing
visually (e.g., Venn diagrams, flowcharts, multiple ideas, details, and/or textual
cluster maps) support to be included in a piece of
writing
Looping After free writing, one section of a text To refine and clarify the writer’s
is circled to promote elaboration or the thoughts, spark new ideas, and/or
generation of new ideas for that section. generate new content during revision
This process is repeated to further and/or drafting
develop ideas from the newly generated
segments
Mapping Creating a graphic organizer that To generate ideas, concepts, or key
serves as a visual representation of the words that provide a focus and/or
organizational plan for a written text establish organization during the
prewriting, drafting, or revision process

Marking the Draft Interacting with the draft version of To encourage focused, reflective thinking
a piece of writing by highlighting, about revising drafts
underlining, color-coding, and annotating
to indicate revision ideas
Note-taking Making notes about ideas in response To assist in organizing key textual
to text or discussions; one form is the elements and responses noted during
double-entry journal in which textual reading in order to generate textual
evidence is recorded on the left side and support that can be incorporated into
personal commentary about the meaning a piece of writing at a later time. Note-
of the evidence on the other side. taking is also a reading and listening
strategy.
Outlining Using a system of numerals and letters To generate ideas, concepts, or key
in order to identify topics and supporting words that provide a focus and/or
details and ensure an appropriate establish organization prior to writing
© 2014 College Board. All rights reserved.

balance of ideas. an initial draft and/or during the revision

process
Quickwrite Writing for a short, specific amount of To generate multiple ideas in a quick
time in response to a prompt provided fashion that could be turned into longer
pieces of writing at a later time (May
be considered as part of the drafting
process)
RAFT Generating a new text and/or To generate a new text by identifying
transforming a text by identifying and the main elements of a text during the
manipulating its component parts of prewriting and drafting stages of the
Role, Audience, Format, and Topic writing process
Rearranging Selecting components of a text and To refine and clarify the writer’s thoughts
moving them to another place within the during revision and/or drafting
text and/or modifying the order in which
the author’s ideas are presented
Self-Editing/Peer Editing Working individually or with a partner to To facilitate a collaborative approach to
examine a text closely in order to identify generating ideas for and revising writing.
areas that might need to be corrected for
grammar, punctuation, spelling

SpringBoard Learning Strategies 343

 STRATEGY DEFINITION PURPOSE
Sharing and Responding Communicating with another person or To make suggestions for improvement
a small group of peers who respond to a to the work of others and/or to receive
piece of writing as focused readers (not appropriate and relevant feedback on
necessarily as evaluators) the writer’s own work, used during the
drafting and revision process
Sketching Drawing or sketching ideas or ordering To generate and/or clarify ideas by
of ideas. Includes storyboarding, visualizing them. May be part of
visualizing prewriting

Substituting / Replacing Replacing original words or phrases in To refine and clarify the writer’s thoughts
a text with new words or phrases that during revision and/or drafting
achieve the desired effect
TWIST* Arriving at a thesis statement that To craft an interpretive thesis in response
The AP Vertical Teams Guide for incorporates the following literary to a prompt about a text
elements: tone, word choice (diction),
English 167–174 imagery, style and theme
Webbing Developing a graphic organizer that To generate ideas, concepts, or key
consists of a series of circles connected words that provide a focus and/or
with lines to indicate relationships establish organization prior to writing
among ideas an initial draft and/or during the revision
process

Writer’s Checklist Using a co-constructed checklist (that To focus on key areas of the writing
could be written on a bookmark and/or process so that the writer can effectively
displayed on the wall) in order to look revise a draft and correct mistake
for specific features of a writing text and
check for accuracy
Writing Groups A type of discussion group devoted to To facilitate a collaborative approach to
sharing and responding of student work generating ideas for and revising writing.

SPEAKING AND LISTENING STRATEGIES

STRATEGY DEFINITION PURPOSE

© 2014 College Board. All rights reserved.

Choral Reading Reading text lines aloud in student To develop fluency; differentiate
groups and/or individually to present an between the reading of statements and
interpretation questions; practice phrasing, pacing,
and reading dialogue; show how a
character’s emotions are captured
through vocal stress and intonation
Note-taking Creating a record of information while To facilitate active listening or close
listening to a speaker or reading a text reading ; to record and organize ideas
that assist in processing information
Oral Reading Reading aloud one’s own text or the To share one’s own work or the work
texts of others (e.g., echo reading, choral of others; build fluency and increase
reading, paired readings) confidence in presenting to a group
Rehearsal Encouraging multiple practices of a piece To provide students with an opportunity
of text prior to a performance to clarify the meaning of a text prior to
a performance as they refine the use of
dramatic conventions (e.g., gestures,
vocal interpretations, facial expressions)
Role Playing Assuming the role or persona of a To develop the voice, emotions, and
character mannerisms of a character to facilitate
improved comprehension of a text

344 SpringBoard® English Language Arts Grade 8

 COLLABORATIVE STRATEGIES
STRATEGY DEFINITION PURPOSE
Discussion Groups Engaging in an interactive, small group To gain new understanding of or insight
discussion, often with an assigned role; into a text from multiple perspectives
to consider a topic, text or question
Think-Pair-Share Pairing with a peer to share ideas; before To construct meaning about a topic or
sharing ideas and discussion with a question; to test thinking in relation
larger group to the ideas of others; to prepare for a
discussion with a larger group
© 2014 College Board. All rights reserved.

SpringBoard Learning Strategies 345

 Glossary / Glosario
A artifact: an object made by a human being, typically an item
that has cultural or historical significance
advertising: the use of print, graphics, or videos to persuade
artefacto: objeto hecho por un ser humano, habitualmente
people to buy a product or use a service
un objeto que tiene significación cultural o histórica
publicidad: uso de impresos, gráfica o videos para persuadir
a las personas a comprar un producto o usar un servicio atmosphere: the feeling created by a literary work or passage
atmósfera: sentimiento creado por una obra o pasaje literario
allegory: a story in which the characters, objects, or actions
have a meaning beyond the surface of the story audience: the intended readers of specific types of texts or
alegoría: cuento en el que los personajes, objetos o acciones the viewers of a program or performance
tienen un significado que va más allá de la superficie de público: lectores objetivo de tipos específicos de textos o
la historia espectadores de un programa o actuación
alliteration: the repetition of consonant sounds at the
beginnings of words that are close together B
aliteración: repetición de sonidos consonánticos al comienzo balanced sentence: a sentence that presents ideas of equal
de palabras que están cercanas weight in similar grammatical form to emphasize the
allusion: a reference to a well-known person, place, event, similarity or difference between the ideas
literary work, or work of art oración balanceada: oración que presenta ideas de igual peso
alusión: referencia a una persona, lugar, obra literaria u obra en forma gramatical similar para enfatizar la semejanza o
de arte muy conocidos diferencia entre las ideas

analogy: a comparison of the similarity of two things; for body paragraph: a paragraph that contains a topic sentence,
example, comparing a part to a whole or the whole to a part supporting details and commentary, and a concluding
analogía: comparación de la semejanza de dos cosas; por sentence and that is usually part of a longer text
ejemplo, comparar una parte con un todo o el todo con párrafo representativo: párrafo que contiene una oración
una parte principal, detalles de apoyo y comentarios, y una oración
concluyente que normalmente forma parte de un texto
analysis (literary): to study details of a work to identify más extenso
essential features or meaning
análisis (literario): estudio de los detalles de una obra para
identificar características o significados esenciales C
call to action: occurs at the end of an argumentative text to
anecdote: a brief, entertaining account of an incident
make clear what the writer or speaker wants the audience to
or event
think or do
anécdota: breve relato entretenido de un incidente o suceso
llamado a la acción: ocurre en la conclusión de un texto

© 2014 College Board. All rights reserved.

antagonist: the character who opposes or struggles against argumentativo para establecer lo que el escritor o el orador
the main character quieren que el público piense o haga
antagonista: personaje que se opone o enfrenta al personaje
caricature: a visual or verbal representation in which
principal
characteristics or traits are distorted for emphasis
antonyms: words with opposite meanings caricatura: representación visual o verbal en la que las
antónimos: palabras con significados opuestos características o rasgos son distorsionados para dar énfasis
archetype: a character, symbol, story pattern, or other cause: an initial action; an event that makes something
element that is common to human experience across cultures else happen
and that occurs frequently in literature, myth, and folklore causa: acción inicial; suceso que hace que otra cosa ocurra
arquetipo: personaje, símbolo, patrón de un cuento u otro
character: a person or animal that takes part in the action of
elemento que es común a la experiencia humana a través de
a literary work
diversas culturas y que aparece con frecuencia en literatura,
personaje: persona o animal que participa en la acción de
mitos y folclor
una obra literaria
argument: facts or reasoning offered to support a position as
characterization: the methods a writer uses to develop
being true
characters; for example, through description, actions,
argumento: hechos o razonamiento entregados para apoyar
and dialogue
una posición como verdadera
caracterización: métodos que usa un escritor para
desarrollar personajes; por ejemplo, a través de descripción,
acciones y diálogo

346 SpringBoard® English Language Arts Grade 8

 citation: giving credit to the authors of source information connotation: the suggested or implied meaning or emotion
cita: dar crédito a los autores de información usada associated with a word—beyond its literal definition
como fuente connotación: significado o emoción sugerida o implícita que
cliché: an overused expression or idea se asocia con una palabra—más allá de su definición literal
cliché: expresión o idea usada en exceso consumer: a buyer; a person who acquires goods
climax: the turning point or the high point of a story and services
clímax: punto de inflexión o momento culminante de un cuento consumidor: comprador, persona que adquiere bienes
y servicios
coherence: the clear and orderly presentation of ideas in a
paragraph or essay consumerism: the buying and consuming of goods and
coherencia: presentación clara y ordenada de las ideas en un products; the belief that it is good to buy and consume goods
párrafo o ensayo and services
consumismo: compra y consumo de bienes y productos;
comedy: an entertainment that is amusing or humorous creencia de que es bueno comprar y consumir bienes
comedia: espectáculo que es divertido o cómico y servicios
commentary: explanation of the way the facts, details and/or context: the circumstances or facts that surround a particular
examples in a paragraph or essay support the topic sentence event or situation
comentario: explicación de la manera en que los hechos, contexto: las circunstancias o los hechos que envuelven un
detalles y ejemplos de un párrafo o ensayo apoyan la oración suceso o situación particular
principal
context clue: information in words and phrases surrounding
commercialism: an emphasis on gaining profits through an unfamiliar word that hint at the meaning of the
advertising or sponsorship unfamiliar word.
mercantilismo: énfasis en obtener utilidades por medio de la clave de contexto: información en las palabras y frases que
publicidad o el auspicio rodean una palabra no conocida y que dan una pista acerca
communication: the process of giving or exchanging del significado de esa palabra.
information contrast: to identify differences in two or more items; see
comunicación: proceso de dar o intercambiar información also, compare
compare: to identify similarities in two or more items; see contrastar: identificar las diferencias entre dos o más
also, contrast elementos; ver también, comparar
comparar: identificar semejanzas en dos o más elementos; controversy: a public debate or dispute concerning a matter
ver también, contrastar of opinion
concise: brief and to the point controversia: un debate público o disputa sobre una cuestión
conciso: breve y al punto sujeta a opinión
concluding sentence: a final sentence that pulls together copy: the actual text in an advertisement
the ideas in a paragraph by restating the main idea or by texto publicitario: información actual en un anuncio
summarizing or commenting on the ideas in the paragraph publicitario
© 2014 College Board. All rights reserved.

oración concluyente: oración final que reúne las ideas de counter-argument: reasoning or facts given in opposition to
un párrafo, reformulando la idea principal o resumiendo o an argument
comentando las ideas del párrafo contraargumento: razonamiento o hechos dados en
conclusion: the ending of a paragraph or essay, which brings oposición a un argumento
it to a close and leaves an impression with the reader criteria: the facts, rules, or standards on which judgments
conclusión: fin de un párrafo o ensayo, que lo lleva a su are based.
término y deja una impresión en el lector criterios: hechos, reglas o estándares sobre las cuales están
conflict: a struggle between opposing forces. In an external basadas las opiniones.
conflict, a character struggles with an outside force, such
as another character or something in nature. In an internal
conflict, the character struggles with his or her own needs,
D
debate: n. a discussion involving opposing points of
desires, or emotions. view; v. to present the sides of an argument by discussing
conflicto: lucha entre fuerzas opuestas. En un conflicto opposing points
externo, un personaje lucha contra una fuerza externa, debate: s. discusión que involucra puntos de vista opuestos;
como por ejemplo otro personaje o algo de la naturaleza. En v. presentar los lados de un argumento discutiendo puntos
un conflicto interno, el personaje lucha contra sus propias opuestos
necesidades, deseos o emociones.

English-Spanish Glossary 347

definition: the process of making clear the meaning or nature enunciation: how words are spoken so they can be clearly
of something understood by an audience
definición: proceso de aclarar el significado o naturaleza enunciación: la manera en que se pronuncian las palabras
de algo para que sean entendidas claramente por un público
definition essay: a type of expository writing that explains, or epic: a long narrative poem about the deeds of heroes or gods
defines, what a topic means épica: poema narrativo largo acerca de las proezas de héroes
ensayo de definición: un tipo de escritura informativa que o dioses
explica o define el significado de un tema
epilogue: a section at the end of a book or play that extends
denotation: the exact, literal meaning of a word or comments on the ending
denotación: significado exacto y literal de una palabra epílogo: sección al final de un libro u obra teatral, que
denounce: declare something to be wrong in a public way extiende o comenta el final
denunciar: declarar de manera pública que algo está mal essay: a short literary composition on a single subject
derision: strong disapproval of an attitude or topic ensayo: composición literaria corta acerca de un único tema
escarnio: fuerte desaprobación hacia una actitud o tema ethos: a rhetorical appeal that focuses on the character or
detail: in writing, evidence (facts, statistics, examples) that qualifications of the speaker
supports the topic sentence ethos: recurso retórico centrado en el carácter o las
detalle: en la escritura, evidencia (hechos, estadística, capacidades del orador
ejemplos) que apoya la oracón principal euphemism: an inoffensive expression that is used in place of
dialect: the distinctive language, including the sounds, one that is considered harsh or blunt
spelling, grammar, and diction, of a specific group or class of eufemismo: expresión inofensiva usada en lugar de una
people considerada cruel o ruda
dialecto: el lenguaje distintivo, incluyendo sonidos, evaluate: make judgments based on criteria and standards to
ortografía, gramática y dicción, de un grupo específico o determine the value of something
clase de personas evaluar: juzgar algo basándose en criterios y estándares para
dialogue: conversation between characters determinar el valor de algo
diálogo: conversación entre personajes exposition: (1) a type of writing that explains, clarifies,
diction: a writer’s or speaker’s choice of words defines, or gives information; (2) events that give a reader
dicción: selección de palabras por parte del escritor u orador background information needed to understand a story
exposición: (1) tipo de escrito que explica, clarifica, define
dissolve: the slow fading away of one image in a film as o entrega información; (2) sucesos que entregan al lector los
another fades in to take its place antecedentes necesarios para comprender un cuento
desvanecimiento: desaparición lenta de una imagen en una
película a medida que otra aparece progresivamente para expository essay: an essay that makes an assertion
tomar su lugar and explains it with details, reasons, textual evidence,
and commentary
drama: a genre of literature that is intended to be performed ensayo expositivo: ensayo que hace una afirmación y la

© 2014 College Board. All rights reserved.

before an audience; a play explica con detalles, razones, evidencia textual y comentarios
drama: género literario destinado a ser representado ante un
público; obra teatral expository paragraph: a paragraph that makes an assertion
and supports it with details and commentary
dystopia: an imagined place or state in which the condition párrafo expositivo: párrafo que hace una afirmación y la
of life is imperfect or bad apoya con detalles y comentarios
distopía: lugar o estado imaginario en el que las condiciones
de vida son imperfectas o malas
F
fable: a brief story that teaches a lesson or moral, usually
E through animal characters that take on human qualities
editorial: A short essay in which a publication, or someone fábula: cuento breve que enseña una lección o moraleja,
speaking for a publication, expresses an opinion or takes a normalmente por medio de personajes animales que asumen
stand on an issue cualidades humanas
editorial: ensayo corto en el que una publicación, o alguien
fact: a statement that can be proven
que representa una publicación, expresa una opinión o toma
hecho: enunciado que puede demostrarse
partido acerca de un tema
fairy tale: a story that involves fantasy elements such as
effect: the result of an event or action
witches, goblins, and elves. These stories often involve princes
efecto: resultado de un suceso o acción
and princesses and today are generally told to entertain
children.

348 SpringBoard® English Language Arts Grade 8

 cuento de hadas: cuento que involucra elementos fantásticos free verse: a kind of poetry that does not follow any regular
como brujas, duendes y elfos. A menudo, estos cuentos pattern, rhythm, or rhyme
involucran a príncipes y princesas y hoy se cuentan verso libre: tipo de poesía que no sigue ningún patrón, ritmo
generalmente para entretener a los niños. o rima regular
falling action: events after the climax of a story but before function: how something is used
the resolution función: forma en que usa algo
acción descendente: sucesos posteriores al clímax de un
cuento, pero antes de la resolución
G
fantasy: a story based on things that could not happen in genre: a category or type of literature, such as short story, folk
real life tale, poem, novel, play
fantasía: cuento basado en cosas que no podrían ocurrir en género: categoría o tipo de literatura, como el cuento corto,
la vida real cuento folclórico, poema, novela, obra teatral
figurative language: imaginative language that is not meant global revision: the process of deeply revising a text to
to be interpreted literally improve organization, development of ideas, focus, and voice
lenguaje figurativo: lenguaje imaginativo que no pretende revisión global: proceso de revisar en profundidad un texto
ser interpretado literalmente para mejorar su organización, desarrollo de ideas, enfoque
flashback: a sudden and vivid memory of an event in the y voz
past; also, an interruption in the sequence of events in the graphic novel: a narrative told through visuals and captions
plot of a story to relate events that occurred in the past novela gráfica: narrativa que se cuenta por medio de efectos
narración retrospectiva: recuerdo repentino y vívido de un visuales y leyendas
suceso del pasado; además, interrupción en la secuencia de
los sucesos del argumento de un cuento para relatar sucesos
ocurridos en el pasado H
headline: a short piece of text at the top of an article,
fluency: the ability to use language clearly and easily usually in larger type, designed to be the first words the
fluidez: capacidad de usar el lenguaje fácilmente y de audience reads
manera clara titular: trozo corto de texto en la parte superior de un
folk literature: the traditional literature of a culture, artículo, habitualmente en letra más grande, diseñado para
consisting of a variety of myths and folk tales ser las primeras palabras que el público lea
literatura folclórica: literatura tradicional de una cultura, humor: the quality of being comical or amusing
consistente en una variedad de mitos y cuentos folclóricos humor: cualidad de ser cómico o divertido
folklore: the stories, traditions, sayings, and customs of a hook: n. a compelling idea or statement designed to get
culture or a society readers’ attention in an introduction
folclor: historias, tradiciones, dichos y costumbres de una gancho: n. idea o afirmación atractiva diseñada para captar la
cultura o sociedad atención del lector en una introducción
folk tale: an anonymous traditional story passed on orally
© 2014 College Board. All rights reserved.

hyperbole: extreme exaggeration used for emphasis, often

from one generation to another used for comic effect
cuento folclórico: cuento tradicional anónimo pasada hypérbole: exageración extrema usada para dar énfasis,
oralmente de generación en generación habitualmente usada para dar efecto cómico
foreshadowing: clues or hints signaling events that will occur
later in the plot
presagio: claves o pistas que señalan sucesos que ocurrirán
I
idiom: a figure of speech that cannot be defined literally
mas adelante en el argumento
expresión idiomatica: figura del discurso que no puede
formal style: academic writing that shows care and definirse literalmente
appropriate language
image: a picture, drawing, photograph, illustration, chart, or
estilo formal: estilo académico de escritura que demuestra
other graphic that is designed to affect the audience in some
atención y lenguaje adecuado
purposeful way
found poem: verse that is created from a prose text by using imagen: pintura, dibujo, fotografía, ilustración, cuadro u otra
the original words, phrases, images, and/or sentences, but gráfica diseñada para producir algún efecto intencional sobre
manipulating them and reformatting them into poetic lines el público
poema derivado: poema creado o derivado de un texto
imagery: descriptive or figurative language used to create
en prosa usando palabras, frases, imágenes u oraciones
word pictures; imagery is created by details that appeal to one
originales, pero manipulándolas y reorganizándolas para
or more of the five senses
formar versos poéticos

English-Spanish Glossary 349

imaginería: lenguaje descriptivo o figurativo utilizado para
crear imágenes verbales; la imaginería es creada por detalles
L
legend: a traditional story believed to be based on actual
que apelan a uno o más de los cinco sentidos
people and events. Legends, which typically celebrate heroic
improvise: to respond or perform on the spur of the moment individuals or significant achievements, tend to express the
improvisar: reaccionar o representar impulsivamente values of a culture.
incident: a distinct piece of action as in an episode in a story leyenda: cuento tradicional que se considera basado en
or a play. More than one incident may make up an event. personas y sucesos reales. Las leyendas, que típicamente
incidente: trozo de acción distintivo como un episodio de celebran a individuos heroicos o logros importantes, tienden
un cuento o de una obra teatral. Más de un incidente puede a expresar los valores de una cultura.
conformar un suceso. limerick: a light, humorous, nonsensical verse of few lines,
inference: a logical guess or conclusion based on observation, usually with a rhyme scheme of a-a-b-b-a
prior experience, or textual evidence quintilla: verso liviano, humorístico, disparatado y de pocas
inferencia: conjetura o conclusión lógica basada en la líneas, normalmente con un esquema a-a-b-b-a
observación, experiencias anteriores o evidencia textual listening: the process of receiving a message and making
inflection: the emphasis a speaker places on words through meaning of it from verbal and nonverbal cues
change in pitch or volume escuchar: proceso de recibir el mensaje y comprender su
inflexión: énfasis que pone un orador en las palabras por significado a partir de claves verbales y no verbales
medio del cambio de tono o volumen literary analysis: the process of examining closely and
interpretation: a writer’s or artist’s representation of the commenting on the elements of a literary work
meaning of a story or idea análisis literario: proceso de examinar atentamente y
interpretación: representación que hace un escritor o artista comentar los elementos de una obra literaria
del significado de un cuento o idea revisión local: revisar un texto a nivel de palabras o
interview: a meeting between two people in which one, de oraciones
usually a reporter, asks the other questions to get that person’s local revision: revising a text on a word or sentence level
views on a subject logo: a unique design symbol used to identify a
entrevista: reunión entre dos personas, en la que una, company visually
normalmente un reportero, hace preguntas a la otra para logotipo: símbolo único de diseño, utilizado para identificar
conocer sus opiniones acerca de un tema visualmente una empresa
introduction: the opening paragraph of an essay, which must logos: a rhetorical appeal to reason or logic through statistics,
get the reader’s attention and indicate the topic facts, and reasonable examples
introducción: párrafo inicial de un ensayo, que debe captar logos: apelación retórica a la razón o la lógica por medio de
la atención del lector e indicar el tema estadísticas, hechos y ejemplos razonables
irony: a literary device that exploits readers’ expectations;
irony occurs when what is expected turns out to be quite J
different from what actually happens. Dramatic irony is a juxtaposition: the arrangement of two or more things for the

© 2014 College Board. All rights reserved.

form of irony in which the reader or audience knows more purpose of comparison
about the circumstances or future events in a story than yuxtaposición: la disposición de dos o más cosas con el
the characters within it; verbal irony occurs when a speaker propósito de comparar
or narrator says one thing while meaning the opposite;
situational irony occurs when an event contradicts the
expectations of the characters or the reader. M
ironía: un recurso literario que explota las expectativas media: the various means of mass communication, such as
de los lectores; la ironía ocurre cuando lo que se espera radio, television, newspapers, and magazines
resulta ser muy diferente de lo que realmente ocurre. La medios de comunicación: los diversos medios de
ironía dramática es una forma de ironía en la que el lector comunicación masiva, como radio, televisión, periódicos
o la audiencia conocen más acerca de las circunstancias o y revistas
sucesos futuros de una historia que los personajes mismo; media channel: a type of media, such as television
la ironía verbal ocurre cuando un orador o narrador dice or newspaper
una cosa para expresar lo contrario; la ironía situacional canal mediático: tipo de medios de comunicación, como
ocurre cuando un suceso contradice las expectativas de los televisión o periódicos
personajes o del lector
metaphor: a comparison between two unlike things in which
one thing becomes another
metáfora: comparación entre dos cosas diferentes en la que
una cosa se convierte en otra

350 SpringBoard® English Language Arts Grade 8

 monologue: a speech or written expression of thoughts by
a character
O
objective: supported by facts and not influenced by
monólogo: discurso o expresión escrita de pensamientos por
personal opinion
parte de un personaje
objetivo: apoyado por hechos y no influenciado por la
mood: the overall emotional quality of a work, which is created opinión personal
by the author’s language and tone and the subject matter
objective camera view: in film, when the camera takes a
carácter: la calidad emocional general de una obra, que es
neutral point of view
creada por el lenguaje y tono del autor y por el tema
visión objetiva de la cámara: en el cine, cuando la cámara
motif: a recurring element, image, or idea in a work toma un punto de vista neutro
of literature
omniscient: a third-person point of view in which the
motivo: elemento, imagen o idea recurrente en una
narrator is all-knowing
obra literaria
omnisciente: punto de vista de una tercera persona, en la que
multiple intelligences: the variety of learning styles that el narador lo sabe todo
everyone has in varying degrees. In each individual, different
onomatopoeia: the use of words that imitate the sounds of
intelligences predominate.
what they describe
inteligencias múltiples: diversidad de estilos de aprendizaje
onomatopeya: el uso de palabras que imitan los sonidos de lo
que todos tienen en diversos grados. En cada individuo
que describen
predominan diferentes inteligencias.
one-liner: a short joke or witticism expressed in a
myth: a traditional story that explains the actions of gods or
single sentence.
heroes or the origins of the elements of nature
agudeza: chiste u comentario ingenioso que se expresa en
mito: cuento tradicional que explica las acciones de dioses o
una sola oración.
héroes o los orígenes de los elementos de la naturaleza
opinion: a perspective that can be debated
opinión: perspectiva que es debatible
N oral interpretation: reading aloud a literary text
narrative: a type of writing that tells a story or describes a
sequence of events in an incident with expression
narrativa: tipo de escritura que cuenta un cuento o describe interpretación oral: leer en voz alta un texto literario
una secuencia de sucesos de un incidente con expresión

narrative poem: a story told in verse oxymoron: a figure of speech in which the words seem to
poema narrativo: historia contada en verso contradict each other; for example, “jumbo shrimp”
oxímoron: figura del discurso en la que las palabras parecen
negate: to deny or make ineffective contradecirse mutuamente; por ejemplo, “audaz cobardía”
denegar: negar o anular
news article: an article in a news publication that objectively
presents both sides of an issue
P
pacing: the amount of time a writer gives to describing each
artículo noticioso: artículo de una publicación noticiosa que
© 2014 College Board. All rights reserved.

event and developing each stage in the plot

presenta objetivamente ambos lados de un asunto
compás: el tiempo que un escritor da para describir un
nonprint text: a text, such as film or graphics, that suceso y desarrollar cada etapa de la trama
communicates ideas without print
pantomime: a form of acting without words, in which
texto no impreso: texto, como una película o gráfica, que
motions, gestures, and expressions convey emotions
comunica ideas sin imprimir
or situations
nonverbal communication: gestures, facial expressions, and pantomima: forma de actuación sin palabras, en la que los
inflection that form unspoken communication movimientos, gestos y expresiones transmiten emociones
comunicación no verbal: gestos, expresiones faciales e o situationes
inflexión que forman la comunicación no hablada
paraphrase: to restate in one’s own words
novel: a type of literary genre that tells a fictional story parafrasear: reformular en nuestras propias palabras
novela: tipo de género literario que cuenta una
parody: a humorous imitation of a literary work
historia ficticia
parodia: imitación humorística de una obra literaria
nuance: a subtle difference or distinction in meaning
pathos: a rhetorical appeal to the reader’s or listener’s senses
matiz: una diferencia sutil o distinción en significado
or emotions through connotative language and imagery
pathos: apelación retórica a los sentidos o emociones del
lector u oyente por medio de un lenguaje connotativo
y figurado

English-Spanish Glossary 351

performance: presenting or staging a play punto de vista de la tercera persona, el narrador es alguien
actuación: presentar o poner en escena una obra teatral que está fuera del cuento.
persona: the voice or character speaking or narrating a story prediction: a logical guess or assumption about something
persona: voz o personaje que habla o narra una historia that has not yet happened
personal letter: a written communication between friends, predicción: conjetura lógica o suposición acerca de algo que
relatives, or acquaintances that shares news, thoughts, or aún no ha ocurrido
feelings presentation: delivery of a formal reading, talk, or
carta personal: comunicación escrita entre amigos, performance
parientes o conocidos, que comparte noticias, pensamientos presentación: entrega de una lectura, charla o representación
o sentimientos formal
personal narrative: a piece of writing that describes an prose: the ordinary form of written language, using sentences
incident and includes a personal response to and reflection and paragraphs; writing that is not poetry, drama, or song
on the incident prosa: forma común del lenguaje escrito, usando oraciones y
narrativa personal: texto escrito que describe un incidente párrafos; escritura que no es poesía, drama ni canción
e incluye una reacción personal ante el incidente y una
protagonist: the central character in a work of literature, the
reflexión acerca de él
one who is involved in the main conflict in the plot
personification: a kind of metaphor that gives objects or protagonista: personaje principal de una obra literaria, el que
abstract ideas human characteristics participa en el conflicto principal de la trama
personificación: tipo de metáfora que da características
pun: the humorous use of a word or words to suggest another
humanas a los objetos o ideas abstractas
word with the same sound or a different meaning
perspective: the way a specific character views a situation or retruécano: uso humorístico de una o varias palabras
other characters para sugerir otra palabra que tiene el mismo sonido o un
perspectiva: manera en que un personaje específico visualiza significado diferente
una situación o a otros personajes
purpose: the reason for writing; what the writer hopes
persuasion: the act or skill of causing someone to do or to accomplish
believe something propósito: razón para escribir; lo que el escritor espera lograr
persuasión: acto o destreza de hacer que alguien haga o
crea algo
Q
persuasive essay: an essay that attempts to convince the quatrain: a four-line stanza in poetry
reader of to take an action or believe an idea cuarteta: en poesía, estrofa de cuatro versos
ensayo persuasivo: ensayo que intenta convencer al lector de
que realice una acción o crea una idea
phrasing: dividing a speech into smaller parts, adding pauses
R
rate: the speed at which a speaker delivers words
for emphasis rapidez: velocidad a la que el orador pronuncia las palabras
frasear: dividir un discurso en partes más pequeñas,

© 2014 College Board. All rights reserved.

añadiendo pausas para dar énfasis reflection: a kind of thinking and writing which seriously
explores the significance of an experience, idea, or
pitch: the highness or lowness of a sound, particularly the observation
voice in speaking reflexión: tipo de pensamiento y escritura que explora
tono: altura de un sonido, especialmente de la voz al hablar seriamente la importancia de una experiencia, idea
plagiarism: taking and using as your own the words and u observación
ideas of another reflective essay: an essay in which the writer explores the
plagio: tomar y usar como propias las palabras e ideas de otro significance of an experience or observation
plot: the sequence of related events that make up a story ensayo reflexivo: ensayo en que el autor explora la
or novel importancia de una experiencia u observación
trama: secuencia de sucesos relacionados, que conforman un refrain: a regularly repeated word, phrase, line, or group of
cuento o novela lines in a poem or song
point of view: the perspective from which a story is told. In estribillo: palabra, frase, verso o grupo de versos de un
first-person point of view, the teller is a character in the story poema o canción que se repite con regularidad
telling what he or she sees or knows. In third-person point of repetition: the use of the same words or structure over again
view, the narrator is someone outside of the story. repetición: uso de las mismas palabras o estructura una
punto de vista: perspectiva desde la cual se cuenta una y otra vez
historia. En el punto de vista de la primera persona, el relator
es un personaje del cuento que narra lo que ve o sabe. En el

352 SpringBoard® English Language Arts Grade 8

 research: (v.) the process of locating information from seminar: a small group of students engaged in intensive
a variety of sources; (n.) the information found from study
investigating a variety of sources seminario: grupo pequeño de estudiantes que participan en
investigar: (v.) proceso de buscar información en una un estudio intenso
variedad de fuentes; también, investigación (n.) información
sensory details: words or information that appeal to the
que se halla al investigar una variedad de fuentes
five senses
resolution: the outcome of the conflict of a story, when loose detalles sensoriales: palabras o información que apelan a los
ends are wrapped up cinco sentidos
resolución: resultado del conflicto de un cuento, cuando se
sequence of events: the order in which events happen
atan los cabos sueltos
secuencia de los sucesos: orden en que ocurren los sucesos
résumé: a document that outlines a person’s skills, education,
setting: the time and the place in which a narrative occurs
and work history
ambiente: tiempo y lugar en que ocurre un relato
currículum vitae: un documento que resume las destrezas,
educación y experiencia laboral de una persona short story: a work of fiction that presents a sequence of
events, or plot, that deals with a conflict
revision: a process of evaluating a written piece to improve
cuento corto: obra de ficción que presenta una secuencia de
coherence and use of language; see also, local revision,
sucesos, o trama, que tratan de un conflicto
global revision
revisión: proceso de evaluar un texto escrito para mejorar la simile: a comparison between two unlike things, using the
coherencia y el uso del lenguaje; ver también, revisión local, words like or as
revisión global símil: comparación entre dos cosas diferentes usando las
palabras como o tan
rhetorical question: a question asked to emphasize a point or
create an effect; no answer is expected slogan: a catchphrase that evokes a particular feeling about a
pregunta retórica: pregunta que se hace para enfatizar un company and its product
punto o crear un efecto; no se espera una respuesta eslogan: frase o consigna publicitaria que evoca un
sentimiento en particular acerca de una empresa y
rhyme: the repetition of sounds at the ends of words
su producto
rima: repetición de sonidos al final de las palabras
Socratic: adjective formed from the name of the philosopher
rhyme scheme: a consistent pattern of end rhyme throughout
Socrates, who was famous for his question-and-answer
a poem
method in his search for truth and wisdom
esquema de la rima: patrón consistente de una rima final a lo
Socrático: adjetivo derivado del nombre del filósofo Sócrates,
largo de un poema
que es famoso por su método de preguntas y respuestas en la
rhythm: the pattern of stressed and unstressed syllables in búsqueda de la verdad y la sabiduría.
spoken or written language, especially in poetry
speaker: the voice that communicates with the reader
ritmo: patrón de sílabas acentuadas y no acentuadas en
of a poem
lenguaje hablado o escrito, especialmente en poesía
hablante: la voz que se comunica con el lector de un poema
rising action: major events that develop the plot of a story
© 2014 College Board. All rights reserved.

speaking: the process of sharing information, ideas, and

and lead to the climax
emotions using verbal and nonverbal means communication
acción ascendente: sucesos importantes que desarrollan la hablar: proceso de compartir información, ideas y emociones
trama de un cuento y conducen al clímax
usando medios de comunicación verbales y no verbales
stanza: a group of lines, usually similar in length and pattern,
S that form a unit within a poem
satire: a manner of writing that mixes a critical attitude with estrofa: grupo de versos, normalmente similares en longitud
wit and humor in an effort to improve mankind and human y patrón, que forman una unidad dentro de un poema
institutions
sátira: una forma de escritura que combina una actitud stereotype: a fixed, oversimplified image of a person, group,
crítica con ingenio y humor en un esfuerzo por mejorar la or idea; something conforming to that image
humanidad y las instituciones humanas estereotipo: imagen fija y demasiado simplificada de una
persona, grupo o idea; algo que cumple esa imagen
science fiction: a genre in which the imaginary elements of
the story could be scientifically possible subjective: influenced by personal opinions or ideas
ciencia ficción: género en que los elementos imaginarios del subjectivo: influenciado por opiniones o ideas personales
cuento podrían ser científicamente posibles subjective camera view: in film, when the camera seems to
search term: a single word or short phrase used in a database show the events through a character’s eyes
search visión subjetiva de la cámara: en el cine, cuando la
clave de búsqueda: una palabra o frase corta que se usa para cámara parece mostrar los sucesos a través de los ojos de
investigar en una base de datos un personaje

English-Spanish Glossary 353

subplot: a secondary plot that occurs along with a main plot oración principal: oración que plantea la idea principal de
trama secundaria: argumento secundario que ocurre un párrafo; en un ensayo, también plantea un punto que
conjuntamente con un argumento principal apoya el enunciado de tesis
summarize: to briefly restate the main ideas of a piece transitions: words or phrases that connect ideas, details, or
of writing events in writing
resumir: reformular brevemente las ideas principales de un transiciones: palabras o frases que conectan ideas, detalles o
texto escrito sucesos de un escrito
symbol: an object, a person, or a place that stands for TV news story: a report on a news program about a
something else specific event
símbolo: objeto, persona o lugar que representa otra cosa documental de televisión: reportaje en un programa
symbolism: the use of symbols noticioso acerca de un suceso específico
simbolismo: el uso de símbolos
synonyms: words with similar meanings U
sinónimos: palabras con significados semejantes universal: characteristic of all or the whole
universal: característico de todo o el entero

T utopia: an ideal or perfect place

utopía: lugar ideal o perfecto
talking points: important points or concepts to be included
in a presentation
puntos centrales: puntos o conceptos importantes a incluirse V
en una presentación verse: a unit of poetry, such as a line or a stanza
tall tale: a highly exaggerated and often humorous story verso: unidad de la poesía, como un verso o una estrofa
about folk heroes in local settings voice: a writer’s distinctive use of language
cuento increíble: cuento muy exagerado y normalmente voz: uso distintivo del lenguaje por parte de un escritor
humorístico acerca de héroes folclóricos en ambientes locales
voice-over: the voice of an unseen character in film
target audience: the specific group of people that advertisers expressing his or her thoughts
aim to persuade to buy
público objetivo: grupo específico de personas a quienes los voz en off: voz de un personaje de una película, que no se ve
publicistas desean persuadir de comprar pero que expresa sus pensamientos

technique: a way of carrying out a particular task; for volume: the degree of loudness of a speaker’s voice or
example, visual techniques are ways images can be used to other sound
convey narration volumen: grado de intensidad sonora de la voz de un orador
técnica: una manera de llevar a cabo una tarea en particular; o de otro sonido
por ejemplo, las técnicas visuales son formas en que las
imágenes comunican narración W

© 2014 College Board. All rights reserved.

tempo: the speed or rate of speaking juego de palabras: intercambio verbal ingenioso u ocurrente
ritmo: velocidad o rapidez al hablar o un juego con palabras
wordplay: a witty or clever verbal exchange or a play
textual evidence: quotations, summaries, or paraphrases on words
from text passages to support a position
evidencia textual: citas, resúmenes o paráfrasis de pasajes de
texto para apoyar una position Y
yarn: a long, often involved, story, usually telling of incredible
theme: the central idea, message, or purpose of a
or fantastic events; an entertaining tale; a tall tale
literary work
narración: un historia larga, en ocasiones envolvente, que
tema: idea, mensaje o propósito central de una obra literaria
usualmente cuenta sucesos increíbles o fantásticas; un
thesis: a sentence, in the introduction of an essay, that states historia entretenida; un cuento fantástico
the writer’s position or opinion on the topic of the essay
tesis: una oración, en la introducción de un ensayo, que
plantea la afirmación u opinión del escritor acerca del tema
del ensayo
tone: a writer’s or speaker’s attitude toward a subject
tono: actitud de un escritor u orador hacia un tema
topic sentence: a sentence that states the main idea of a
paragraph; in an essay, it also makes a point that supports the
thesis statement

354 SpringBoard® English Language Arts Grade 8

 © 2014 College Board. All rights reserved.
Word Map

Graphic Organizers 355

 Word Map
Definition Visual

Academic
Vocabulary
Word

Example Example

© 2014 College Board. All rights reserved.

Example

356 SpringBoard® English Language Arts Grade 8

 Evaluating Online Sources
The URL
What is its domain?
• .com = a for-profit organization
• .gov, .mil, .us (or other country code) = a government site
• .edu = an educational institution
• .org = a nonprofit organization

• Is this URL someone’s personal page?

• Why might using information from a personal page be a problem?
• Do you recognize who is publishing this page?
• If not, you may need to investigate further to determine whether the publisher is an expert
on the topic.

Sponsor:
• Does the web site easily give information about the organization or group that sponsors it?
• Does it have a link (often called “About Us”) that leads you to that information?
• What do you learn?

Timeliness:
• When was the page last updated (usually this is posted at the top or bottom of the page)?
• How current a page is may indicate how accurate or useful the information in it will be.

Purpose:
• What is the purpose of the page?
• What is its target audience?
© 2014 College Board. All rights reserved.

• Does it present information or opinion?

• Is it primarily objective or subjective?
• How do you know?

Author:
• What credentials does the author have?
• Is this person or group considered an authority on the topic?

Links
• Does the page provide links?
• Do they work?
• Are they helpful?
• Are they objective or subjective?

Graphic Organizers 357

SOAPSTone:
SOAPSTone Analysis Textual Support
Speaker:
What does the
reader know
about the writer?

Occasion:
What are the
circumstances
surrounding this
text?

Audience:
Who is the target
audience?

Purpose:
Why did the
author write this
text?

© 2014 College Board. All rights reserved.

Subject:
What is the topic?

Tone:
What is the
author’s tone, or
attitude?

358 SpringBoard® English Language Arts Grade 8

 TP-CASTT Analysis
Poem Title:

Author:

Title: Make a Prediction. What do you think the title means before you read the poem?

Paraphrase: Translate the poem in your own words. What is the poem about? Rephrase difficult sections
word for word.

Connotation: Look beyond the literal meaning of key words and images to their associations.

Attitude: What is the speaker's attitude? What is the author's attitude? How does the author feel about the
speaker, about other characters, about the subject?
© 2014 College Board. All rights reserved.

Shifts: Where do the shifts in tone, setting, voice, etc., occur? Look for time and place, keywords,
punctuation, stanza divisions, changes in length or rhyme, and sentence structure. What is the purpose
of each shift? How do they contribute to effect and meaning?

Title: Reexamine the title. What do you think it means now in the context of the poem?

Theme: Think of the literal and metaphorical layers of the poem. Then determine the overall theme.
The theme must be written in a complete sentence.

Graphic Organizers 359

Index of Skills
Literary Skills Conflict, 10, 15, 26, 27, 28, 30, 48, Images/imagery, 8, 9, 11, 13, 27, 32,
108, 110, 111, 112, 113, 114, 122, 35, 46, 48, 71, 201, 202, 246, 249,
Allegory, 69, 175
123, 124, 186, 193, 294, 313 250, 254
Alliteration, 277
external, 167 Interpreting/interpretation, 106,
Allusion, 209, 275, 276
internal, 167 121, 122, 163, 252, 261, 265, 295,
Anecdote, 245, 247
Connotation, 53, 55, 56, 57, 103, 178 296, 305
Archetype, 4, 15, 51, 120
Context, 8, 27, 49, 76, 184, 211 Irony, 236, 257, 267, 272, 300
characters, 28
Definition strategies, 61 situational, 267, 282
Hero’s Journey, 15, 20, 25, 28, 38,
by example, 61, 62 Jargon, 270
42, 48, 49, 51, 55, 120, 121, 122,
by function, 61, 62, 65 Juxtaposition, 235, 253
123, 126, 127
by negation, 61, 62 Literary analysis, 110, 111, 121, 122,
Audience, 58, 59, 131, 177, 211, 243,
Denotation, 53, 238 123, 126, 127, 167, 194, 195, 198,
244, 246, 280
Details, 8, 9, 11, 27, 63, 73, 198, 277, 305, 307
Author’s purpose, 53, 58, 59, 60, 98,
203, 246, 249, 254, 262, 263, 265, Literary Terms, 2, 4, 8, 10, 11, 12,
131, 150, 172, 177, 211, 212
294, 305 15, 18, 28, 53, 61, 73, 74, 81, 92,
Autobiography, 171
Dialect, 268, 269 129, 160, 162, 185, 201, 205, 210,
Caricature, 261, 265, 266, 282,
Dialogue. See Narrative technique 230, 236, 267, 268, 274, 277, 290,
283, 300
Diction (word choice), 53, 96, 105, 294, 296
Characterization, 7, 31, 34, 35, 49,
167, 178, 247, 249, 250, 254, Metaphor, 95
110, 184, 193, 196, 261, 262,
285, 294 Monologue, 245
305, 313
connotative, 189, 257, 259 Mood, 11, 12, 13, 35, 49, 167,
actions, 28, 29, 31, 110, 120, 261,
Dystopia, 101, 123, 127 187, 188
265, 267, 305, 307
Effect, 14, 18, 35, 38, 103, 104, 105, Narration, 264
appearance, 29, 110, 120, 261,
108, 156, 159, 171, 172, 184, 185, Narrative, 8, 162, 170, 180, 203,
265, 267, 305
189, 212, 220, 222, 235, 243, 244, 205, 237
words, 28, 29, 31, 32, 48,
246, 248, 249, 253, 254, 256, 257, autobiographical, 72, 73, 173
110, 120, 261, 265, 267,
270, 277, 288, 290, 306, 311 illustrated, 4, 11, 49
305, 307
Epic, 28 nonfiction, 94, 205
Character, 15, 26, 27, 31, 110, 113,
Essential questions, 4, 51, 92, 129, personal, 171
116, 167, 187, 188, 193, 198, 199,
162, 205, 232, 290 Narrative techniques, 35, 184
203, 241, 255, 265, 267, 269,
Euphemism, 178 description, 26, 27, 35, 48, 184
295, 313

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Fiction, 142 dialogue, 26, 27, 34, 35, 48, 56,
analysis, 28, 194, 305
Figurative language, 246, 249 123, 184, 189, 190, 195, 196,
antagonist, 110, 123
Figurative meaning, 56, 69 198, 244
comic/humorous, 244, 255, 261,
Format, 243, 244 pacing, 18, 24, 26, 27, 33, 35,
265, 266, 267, 273, 282, 283, 294
Hero, 4, 7, 20, 26, 35, 49, 52, 54, 92, 48, 184
protagonist (main character), 12,
120, 124, 125, 126, 127 reflection, 184
54, 92, 110, 111, 112, 116, 120,
Humor, 232, 233, 235, 236, 238, 240, Nonfiction, 142, 162
121, 123, 126, 127
241, 243, 244, 245, 247, 249, 250, Nuance, 53
types, 15, 28
251, 254, 256, 257, 259, 260, 262, Organization, 95, 98
Comedy, 234, 280, 288, 290,
265, 266, 267, 273, 275, 276, 278, Persona, 236, 246
291, 294
279, 281, 282, 283, 284, 285, 288, Perspective, 10, 22, 31, 112, 113,
high, 241, 242, 254, 257, 266,
290, 313 114, 120, 123
272, 281
elements of, 281, 282, 283, 288, Plot, 15, 110, 167, 187, 188, 193,
low, 241, 242, 254, 266, 272
291, 294, 298, 300, 310, 311, 198, 199, 203, 241, 255
Comic situations, 266, 267, 272,
312, 313 climax, 15, 17
273, 282, 283, 294, 300
words to describe, 238–239 exposition, 15, 16, 27
Commentary, 63, 286
Hyperbole, 274, 276, 277, 278, 281, falling action, 15, 17
282, 283, 300 patterns of, 15

360 SpringBoard® English Language Arts Grade 8

 resolution, 15, 18, 48, 49, 294 Annotating the text, 28, 95, 171, Sketching , 26, 46, 168, 261, 272,
rising action, 15, 16 194, 209, 257, 262, 268, 283, 285, 281, 294, 298
sequence of events, 35 299, 300 Skimming, 121, 189, 233, 262,
Plot diagram, 18 Close reading, 274, 283, 295, 297, 297, 300
Poetry 299, 305 SOAPSTone strategy, 209, 211
found poem, 201, 202 Compare and contrast, 59, 101, 116, Summarizing, 23, 25, 37, 56, 58,
structure of, 202 173, 197 150, 167, 199, 203, 215, 225, 238,
Point of view, 10, 22, 27, 49 Connecting to the text 298, 300
first person, 10, 27, 184 text-to-self, 167, 203, 215, 247 TP-CASTT strategy, 55, 56, 58, 67
third-person, 10, 27 text-to text, 60, 167, 177, 203, 247 TWIST strategy, 249, 250
Prose, 201, 202 text-to-world, 167, 203, 247 Visualizing, 279, 298
Pun, 279, 280, 281, 282, 283 Context, 297
Repetition, 248, 253, 276 Independent Reading Link, 4, 7, Writing Skills
Sarcasm, 257, 259 52, 92, 130, 162, 202, 205, 232,
Analytical statement, 170
Satire, 236, 257, 260, 294 256, 291
Anecdote, 251
Science fiction, 109 Inferring, 9, 28, 94, 96, 102, 103,
AQQS strategy, 80
Setting, 10, 15, 26, 27, 30, 49, 101, 120, 182, 250, 262
Argument, 92, 129, 131, 133, 136,
110, 111, 113, 116, 167, 180, 187, Informational text, features of, 145
138, 139, 156, 210, 221, 224
188, 193, 194, 198, 199, 203, Levels of questions, 109, 111, 113,
validity of, 138, 139
267, 313 117, 167, 255, 256
Audience, 73, 130, 133, 142, 157,
social circumstances of, 116 Making meaning, 67, 295, 296,
210, 211
Simile, 272 297, 299
Background information, 81, 154
Speaker, 211, 277 Marking the text, 8, 33, 42, 57, 62,
Bibliography, 149, 157
Stanza, 173 70, 78, 81, 95, 96, 101, 115, 120,
annotated, 212
Structure, 35 123, 131, 134, 139, 140, 145, 151,
note (research) cards for, 149
Style, 249, 250, 269, 276 171, 181, 194, 202, 214, 221, 233,
Body (supporting) paragraph, 84,
formal, 73 243, 257, 262, 269, 276, 279, 283,
86, 87, 155, 285, 287, 288
informal, 73 285, 288, 297, 300
Book review, 165
Symbol/symbolism, 15, 175, 195 Metacognitive markers, 15, 217,
Brainstorming, 5, 26, 87, 92, 93, 130,
Syntax, 254 252, 274
132, 135, 163, 175, 215, 221, 241,
Theme (universal truth), 18, 48, 55, Note-taking, 28, 53, 97, 117, 124,
243, 256
57, 92, 98, 105, 110, 111, 116, 150, 183, 186, 198, 215, 226, 233,
Bridge, 81, 82, 87
124, 127, 162, 170, 173, 177, 180, 242, 245, 246, 257, 261, 267, 281,
Call to action, 65, 155, 207, 210,
188, 193, 198, 199, 203, 229, 249, 288, 293, 299, 309
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220, 227
250, 255, 256, 272, 287, 288, 313 Paraphrase, 5, 6, 51, 56, 92, 130,
Claim, 76, 130, 131, 133, 137, 139,
Theme statement, 19, 25, 57, 60, 272 162, 205, 232, 257, 268, 291, 295,
140, 141, 145, 147, 148, 152, 153,
Tone, 53, 55, 57, 167, 193, 246, 249, 297, 300
154, 156, 157, 212
250, 254, 263, 277, 294 Predicting, 10, 20, 55, 56, 102, 145,
debatable, 141, 142, 157, 225
list of tone words, 54 165, 186, 195, 213, 224, 233,
non-debatable, 141
shifts in, 189, 193, 246, 277 262, 281
Coherence, 74, 75, 77, 79, 81, 99,
Use of language, 11, 52, 59, 60, 241, Prior knowledge, 67
121, 256, 260, 273, 281, 288
254, 266, 295 Questioning the text, 109
Commentary, 13, 66, 73, 79, 84,
Utopia, 100, 129 Read aloud, 36, 163, 179, 257, 268,
85, 86, 120, 127, 148, 152, 177,
Visual prompt, 1, 89, 159, 229 281, 298
188, 193, 198, 203, 252, 273, 281,
Wordplay, 241, 281, 282, 283, 300 Reader/Writer Notebook, 4, 26, 51,
285, 288
Yarn (tall tale), 274 61, 92, 111, 113, 120, 123, 125,
Compare and contrast, 52, 92, 99,
131, 163, 165, 169, 182, 194, 272
101, 113, 127
Reading Skills Rereading, 25, 56, 58, 82, 186, 202,
Conciseness, 51, 167,
249, 257, 267, 281, 283, 298,
Analyzing the text, 20, 42, 55, 63, Conclusion/ending, 48, 49, 83, 84,
300, 305
67, 94, 117, 122, 167, 173, 178, 86, 87, 127, 156, 157, 181, 182,
Scanning, 121, 145, 189, 233, 262,
194, 195, 198, 209, 238, 246, 249, 198, 199, 203, 225, 285, 287, 288,
297, 300
256, 260, 268, 277

Index of Skills 361

Conclusion (within an argument), Expository writing, 52, 66, 73, 79, Quotations, 25, 73, 76, 77, 81, 86,
138, 139, 155, 86, 92, 99, 108, 114, 121, 126, 111, 140, 148, 152, 258, 281
Context, 285 127, 130, 177, 188, 193, 244, 251, direct, 66, 76, 77, 107, 108, 114,
Counterclaim (counterargument), 256, 260, 273, 281 121, 126
131, 133, 142, 147, 156, 157, 212 Feedback, 36, 37, 38, 49, 87, 127, embedded, 76, 77, 82, 85, 107,
Defining, 52, 61, 66, 100, 111, 113, 156, 157, 288 156, 157
117, 123, 125, 179, 206, 238, Figurative language, 38, 66, 134, 250 indirect (paraphrased), 66, 85, 86,
257, 297 Freewrite, 60, 142 107, 140, 148, 152, 156
Definition strategies, 61 Hook, 80, 82, 83, 87, 114, 139, 154, RAFT strategy, 243, 244
by example, 61, 62, 65, 73, 85, 155, 203, 285 Reasoning, 131, 133, 134, 138, 142,
86, 87 Images/imagery, 49 152, 154, 156, 212, 225
by function, 61, 62, 65, 66, 85, Interpretation, 73, 82, 148, 252, 261 soundness of, 138, 139
86, 87 Introduction, 80, 86, 87, 125, 156, Reasons, 84, 113, 135, 155, 166
by negation, 61, 62, 65, 78, 79, 85, 157, 181, 182, 198, 199, 203, 285, Refutation, 131, 133
86, 87 287, 288 Research, 87, 96, 130, 143, 149, 153,
graphic organizer for, 66 Lead-in, 76, 120 156, 157, 180, 184, 185, 205, 215,
Details (supporting), 13, 35, 38, 49, Letter, 212 216, 222
66, 73, 79, 84, 85, 86, 120, 203, Logical fallacies, 138, 139 notes on, 153, 154, 155, 157,
240, 261, 286 Marking the text, 75, 77 180, 227
Dialogue, 49 Mood, 35 Research question, 143, 144, 149,
Diction (word choice), 35, 38, 73, Narrative writing, 27, 38, 48, 52, 153, 157
82, 84, 177, 188, 203, 240, 244, 184, 237 Résumé, 168
251, 254, 256, 260, 273, 278, 281, Note taking, 149 Revision, 10, 37, 48, 49, 60, 66, 75,
283, 288 Open-ended question, 36 77, 82, 87, 156, 185, 193, 240,
connotative, 48, 49 Organization, 37, 38, 49, 65, 80, 114, 285, 287
Double-entry journal, 169 125, 127, 145, 154, 155, 157, 198, guiding questions for, 37, 82
Drafting, 13, 27, 35, 49, 60, 66, 73, 227, 244, 251, 288 Revision strategies
87, 127, 157, 184, 188, 193, 203, chronological, 121, 122 adding, 38, 48, 75, 77, 82, 84,
212, 220, 227, 251, 288 compare/contrast, 93, 125, 126 185, 193
Editing, 38, 39, 41, 49, 87, 127, subject-by subject, 93, 99 deleting, 38
157, 288 feature-by-feature, 93, 99 rearranging, 38
Effect, 48 sequencing, 48, 49, 127, 184 substituting, 38, 66, 75, 77, 82,
Embedded Assessment, 49, 87, 127, Outlining, 86, 98, 154, 181, 198 84, 185
157, 203, 227, 288, 313 Pacing, 38 Rhetorical (persuasive) appeals, 134,

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unpacking, 4, 92, 130, 162, 205, Paraphrasing, 76, 85, 86, 92, 107, 136, 137, 138, 222, 223, 227
232, 291 130, 131, 148, 152, 156, 205, 232, ethos (ethical), 133, 134, 137,
Essays, 232 257, 293 149, 156, 157, 222, 224, 226, 227
argumentative, 130, 131, 148, Peer review, 37, 41 logos (logical), 134, 136, 137,
152, 153, 156, 157 Plagiarism, 107 138, 142, 156, 157, 212, 222,
compare and contrast, 93, 99 Planning, 13, 49, 87, 93, 127, 153, 224, 226, 227
definition, 61, 80, 86, 87 157, 203, 227, 288, 313 pathos (emotional), 134, 137, 142,
elements of, 80 Point of view, 131 156, 157, 212, 222, 224, 226, 227
expository, 288 Precise language, 156, 238, 255, 256 Scoring guide, 50, 88, 128, 158, 204,
Evaluating writing, 49, 81, 82, Premise, 138, 139 228, 289, 314
84, 85, 87, 127, 156, 157, 226, Prewriting, 26, 49, 87, 93, 127, 157, Search term, 143, 145, 149, 178
287, 288 227, 288 Self-editing, 37, 41, 156
Evidence, 107, 121, 124, 131, 133, strategies for, 87, 127, 157, 288 Sentence frame, 124
134, 135, 138, 139, 140, 142, 143, Proofreading, 38, 49, 87, 127, 157, 288 Sources, 145, 149
147, 149, 152, 153, 154, 155, 156, Publishing, 49, 157 citing, 49, 76, 77, 149, 156,
157, , 212, 285, 288 Purpose, 38, 73, 133, 211 212, 227
relevant, 84, 163, 225 Quickwrite, 7, 116, 131, 171, 194, evaluating, 143, 144, 145, 149,
sufficient, 84 208, 233, 247, 265, 299, 302 153, 157, 212, 227

362 SpringBoard® English Language Arts Grade 8

 Speech, 212 Writing process, 37, 39, 49, 87, 127, Eye contact, 7, 136, 163, 203,
Structure, 35, 38, 92, 125, 127 157, 288 227, 313
Style Writing prompts, 10, 27, 35, 48, 60, Facial expression, 246, 301, 306, 308
formal, 73, 156, 157, 203, 255, 66, 73, 79, 86, 92, 99, 108, 114, Feedback, 185, 188, 199, 202, 203,
260, 273, 288 121, 126, 127, 140, 148, 152, 177, 212, 227, 251, 312, 313
informal, 60 184, 188, 193, 212, 240, 244, 251, conversation starters for, 312
Synthesizing, 84, 205, 227 256, 260, 273, 281, 294 Fishbowl strategy, 118
TAG (title, author, genre), 250 preparing for, 1 Focus group, 305
Technology Tips, 49, 157, 203, Gestures, 246, 296, 298, 301, 306,
227, 288 Media Skills 308, 309, 310, 313
Textual evidence, 13, 25, 28, 58, 65, Group discussions, 18, 100, 117,
Credits, 223
98, 101, 106, 110, 112, 113, 117, 123, 155, 163, 165, 169, 170, 173,
Evaluating PSAs, 222
120, 170, 177, 188, 193, 194, 212, 177, 178, 188, 198, 203, 212, 238,
Evaluating websites, 220
250, 255, 256, 259, 272, 273, 281 247, 256, 259, 262, 268, 276, 278,
Images, 207, 223
Thematic statement, 203 297, 298, 303
Making a poster, 5
Thesis (controlling idea), 73, 81, 82, discussion sentence starters, 118
Multimedia campaign, 213, 220,
87, 107, 121, 127, 132, 156, 244, guidelines for, 163
221, 223, 226
251, 256, 260, 273, 281, 285 Inflection, 246, 296, 300, 301, 306,
Music, 208
Thesis statement, 82, 83, 86, 240, 250 308, 313
Purpose, 207, 208, 221, 222
3-2-1 reflection, 265 Literature Circles, 166, 169, 173,
Sketch, 223
TLCQ format, 76, 107, 127, 140, 157 177, 178, 202
Target audience, 221, 222, 223,
Tone, 35, 49, 134 roles in, 167–168, 174
226, 227
list of tone words, 54 Listening
Visual representation, 32, 49, 134
Topic, 38, 60, 61, 62, 72, 81, 82, 83, for comprehension, 7, 54, 118,
Visual techniques, 11, 12, 13, 27, 32,
93, 95, 112, 113, 117, 119, 126, 127, 119, 155, 163
35, 48, 159, 167, 310, 311
132, 133, 134, 136, 141, 142, 143, to evaluate, 118, 119, 136, 155,
camera angle, 11, 12, 14, 244, 267
145, 149, 150, 153, 154, 158, 163, 163, 182, 227
camera point of view, 11, 12
177, 180, 181, 182, 199, 236, 243, Marking the text, 177, 189
framing, 11, 12, 267
244, 245, 246, 249, 250, 257, 285 Memorization, 313
lighting, 12, 14, 310, 311
Topic sentence, 13, 66, 73, 79, 84, tips for, 304
shot, 14
86, 114, 120, 126, 177, 188, 193, Movement, 296, 298, 300, 306, 308,
sound, 267, 310, 311
250, 285, 286 309, 310, 313
Visuals, 207, 208, 212, 227
Transitions, 35, 38, 42, 48, 66, 74, Multimedia presentation, 205, 227
75, 76, 77, 79, 85, 97, 99, 118, 120, Music, 310, 313
Speaking and Listening
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121, 147, 155, 156, 157, 182, 185, Note-taking, 7, 54, 118, 136, 163,
193, 199, 203, 246, 256, 260, 273, Skills 169, 177, 182, 203, 208, 215, 227,
281, 285, 286, 288 Acting group/company, 299, 307, 313 278, 313
list of, 260 roles of members in, 299, 313 Oral interpretation, 175
for comparing and contrasting, Blocking , 300, 308, 313 Oral presentation, 7, 54, 181,
99 Coherence, 118 182, 215
purposes of, 74 Conciseness, 51 Oral reading, 185, 188, 189, 202,
Use of language, 37, 38, 80, 82, 142, Costumes, 307, 309 212, 251, 298
156, 251 Debate, 117, 134, 135 Panel discussion, 162, 198, 202, 203
Visualizing, 27, 48 sentence starters for, 136 Pacing, 246
Works Cited page, 149, 157, 223 Discussion prompt, 123, 188 Pauses/phrasing, 177, 185, 189, 296
citation formats for, 149 Dramatic reading/interpretation, Performance, 232, 290, 291, 295,
Writer’s checklist, 38, 41, 156 175, 177, 198, 199, 202 296, 301, 308, 312, 313
Writing group, 13, 36, 49, 52, 188, Emphasis, 177, 185, 296, 308, 313 elements of, 308
227, 287 Enunciation/pronunciation, 7, 136, Performance notes, 299, 313
discussion/response starters for, 163, 185, 203, 301, 308, 313 Performance plan, 307, 308, 313
36, 37 Evaluating listening and speaking Pitch, 185, 189
roles and responsibilities in, 36 skills, 163, 182, 185, 212 Props, 307, 310, 311, 313

Index of Skills 363

Rate/tempo, 185 Phrases Voice, 184, 185, 193
Rehearsal, 177, 182, 199, 203, 212, adverbial, 214 active, 107, 108, 121, 126, 127,
227, 296, 299, 301, 308, 313 participial, 208, 214, 275, 140, 184
dress rehearsal, 312, 276, 277 passive, 107, 108, 121, 126, 127,
video recording of, 313 prepositional, 214 151, 184
Role play, 296 Pronouns, 70, 171, 191 appropriate use of, 108, 151, 184
Slogan, 207, 217, 220, 223, 227 antecedents, 191 shifts in, 156
Socratic Seminar, 117, 118, 255, 256 first person, 81
Style Punctuation, 192, 295, 296, 297, 300 Vocabulary Skills
formal, 255 apostrophe, 297
Academic Vocabulary, 2, 4, 8, 11,
Talking points, 180, 181, 182, 188, brackets, 107
51, 53, 62, 90, 92, 93, 94, 100, 101,
194, 198, 199, 203, 227 colon, 192
102, 107, 129, 131, 134, 160, 162,
Tone (of voice), 177, 189, 246, 295, commas, 214, 296
163, 168, 178, 205, 207, 213, 221,
296, 300, 301, 306, 308 dashes, 192, 248
222, 230, 235, 257, 261, 285, 290
list of tone words, 54 ellipsis, 107, 140, 192
Analogies, 165
Visual delivery, 296, 313 exclamation points, 192, 296
Connotation, 28, 53, 178
Visual display, 5, 7 parentheses, 192, 248
Denotation, 53, 238
Vocal delivery, 296, 298, 309, 313 quotation marks, 296
Diffusing, 5, 56, 257, 262, 288, 297
Voice, 136 semicolons, 296
Foreign words, 83
Volume, 7, 136, 163, 177, 185, 189, Sentences
Literary allusions, 275
203, 246, 313 complex, 81, 82, 86
Nuance, 61, 238
fragments, 209
QHT sort, 4, 51, 92, 99, 129, 131,
Language Skills Verbals, 239, 240, 251, 269, 273,
162, 205, 232, 290
276, 277, 281, 288
Adjectives, 61 Roots and affixes, 28, 42, 75, 80, 100,
gerunds, 238, 251
Clauses, 212 121, 165, 173, 178, 179, 185, 236,
infinitives, 238, 251
adjectival, 212 245, 280
participles, 208, 251
adverbial, 212 Word meanings, 102, 270
Verbs, 39, 61, 105, 240, 256
dependent (subordinate), 81, 82 Word origins, 268
mood, 39, 40, 41, 114, 115, 126,
Conventions, 39, 41, 49, 80, 87, 127,
127, 132, 147, 156, 184, 185, 189,
157, 288
193, 212
Dependent marker, 81, 82
tenses, 258, 259
Nouns, 61
conditional, 96
Parallelism/parallel structure,
literary present, 260

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104, 276
Active voice, 107, 108, 121, 126,
Passive voice, 107, 108, 121, 126,
127, 140
127, 151
appropriate use of, 108, 151

364 SpringBoard® English Language Arts Grade 8

 Index of Authors and Titles
Adventures of Tom Sawyer, The, 268 “Is Traffic Jam Delectable?” 280
“Art of Fiction, The,” 37 Just, Marcel, 146
“Banned Books Week: Celebrating the Freedom to Keller, Tim, 146
Read,” 115 King, Martin Luther, Jr., 6, 164
Barry, Dave, 253 KUTV, Austin, 139
Boy in the Striped Pajamas, The, 195 L’Engle, Madeleine, 8, 43
Boyne, John 195 Lee, Harper, 63
Bradbury, Ray, 20 Lee, Robert E., 94
Brothers, 248 “Made You Laugh,” 233
Carlyle, Thomas, 6 “Man, A,” 56
Cassian, Nina, 55 Midsummer Night’s Dream, A, 297
Catton, Bruce, 95 “Mooses,” 276
“Cellphones and Driving: As Dangerous as We Think?” Narrative of the Life of Frederick Douglass, an American
150 Slave, The, 71
Chorlton, Brooke, 131 Newman, John Henry, 78
Clooney, George, 224 Niemöller, Martin, 173
Creative Nonfiction, 62 Night, 171
“Definition of a Gentleman, A,” 78 Nobel Acceptance Speech Delivered by Elie Wiesel,
Diary of a Young Girl, The, 200 The, 209
Diary of Anne Frank, The, 189 Nobleman, Marc Tyler, 233
Do Something! A Handbook for Young Activists, 213 “O Captain! My Captain!” 69
Douglass, Frederick, 71 Odyssey, The, 30
“Drummer Boy of Shiloh, The,” 21 Onion, The, 258
“Family,” from The Death of Adam: Essays on Modern “Open Window, The,” 262
Thought, 62 “Parents Share Son’s Fatal Text Message to Warn Against
“Famine as a Weapon: It’s Time to Stop Starvation in Texting & Driving,” 137
Sudan,” 224 Patton, George S., 6
“Fear Busters—10 Tips to Overcome Stage Fright!” 302 “Power of Pets, The,” 285
Fiege, Gale, 58 Prelutsky, Jack, 279
“First They Came for the Communists,” 173 Prendergast, John, 224
Frank, Anne, 200 “Private Eyes,” 131
© 2014 College Board. All rights reserved.

“Frederick Douglass,” 70 Reagon, Bernice Johnson, 6

“Free Rice.com,” 219 Robinson, Marilynn, 62
Free Rice Online Quiz Game, 219 Roosevelt, Eleanor, 164
Gerard, Philip, 62 Rowling, J. K., 164
Goodrich, Frances, 189 Saki (H. H. Munro), 262
“Grant and Lee: A Study in Contrasts,” 95 Sandburg, Carl, 274
Grant, Ulysses S., 94 Schweitzer, Albert, 164
Gurley, Dr. Phineas D., 67 “Science Behind Distracted Driving, The,” 139
Guwe, Gary, 302 Scieszka, Jon, 247
Hackett, Albert, 189 Sermon: Excerpt from White House Funeral Sermon
“Harrison Bergeron,” 101 for Abraham Lincoln, 68
Hayden, Robert, 70 Shakespeare, William, 62, 297
Hemingway, Ernest, 37 Sharma, Isha, 285
Homer, 30, Shaw, George Bernard, 252
“How the Brain Reacts,” 146 Shirvington, Jessica, 164
Hughes, Ted, 276 “Soldier Home After Losing His Leg in Afghanistan,” 58
I Corinthians 13:4–8, 62 Sonnet 116, 62
“I’ve Got a Few Pet Peeves About Sea Creatures,” 253 Stone, Oliver, 63

Index of Authors and Titles 365

“They Have Yarns,” 274
To Kill a Mockingbird, 63
Twain, Mark, 268
“Underfunded Schools Forced to Cut Past Tense from
Language Programs,” 258
Vonnegut, Kurt, Jr., 101
Walberg, Matthew, 150
“Wangari Maathai,” 217
“Wednesday, 13 January, 1943,” 201
“Where I Find My Heroes,” 63
Whitman, Walt, 68
Wiesel, Elie, 171, 209
Wrinkle in Time, A, 9, 40, 43

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366 SpringBoard® English Language Arts Grade 8

 Credits
From A Wrinkle in Time by Madeleine L’Engle. From The Diary of Anne Frank by Frances Goodrich
Copyright © 1962 by Crosswicks Ltd. Square Fish, and Albert Hackett. Acting Edition adapted by Wendy
an imprint of Holtzbrinck Publishers (a division of Kesselman. Copyright © 1998 Dramatists Play Service.
Macmillan). From The Diary of a Young Girl (from The Diary of
“The Drummer Boy of Shiloh” by Ray Bradbury from Anne Frank: The Revised Critical Edition) by Anne
Bradbury Stories: 100 of the Most Celebrated Tales. Frank. Arnold J. Pomerans (Translator), B. M. Mooyaart
Copyright © 2003 by Ray Bradbury. HarperCollins Doubleday (Translator), Susan Massotty (Translator).
Publishers. Copyright © 1986 and 2001 by ANNE-FRANK-Fonds,
From the Odyssey by Homer, translated by Tony Kline. Basle, Switzerland for all texts of Anne Frank. Published
Reproduced by permission of Tony Kline. by Doubleday, a division of Random House, Inc.
“A Man” by Nina Cassian. Reproduced by permission of From The Boy in Striped Pajamas by John Boyne.
Peter Owen Publishers. Copyright © 2006 by John Boyne. David Fickling
Books, an imprint of Random House Children’s Books,
“Soldier home after losing his leg in Afghanistan”
Random House, Inc.
by Gale Fiege, The Daily Herald. Copyright © 2012
HeraldNet. From Night, Nobel Acceptance Speech delivered by
Elie Wiesel, December 10, 1986. Translated by Marion
“Where I Find My Heroes” by Oliver Stone McCall’s
Wiesel. Copyright © 1972, 1985 by Elie Wiesel.
Magazine (November 1992). Copyright © Meredith
Translation copyright © 2006 Marion Wiesel. Hill and
Corporation.
Wang, a division of Farrar, Straus and Giroux.
“Frederick Douglass” from Collected Poems of Robert
From Do Something! A Handbook for Young Activists
Hayden by Robert Hayden, edited by Frederick
by Vanessa Martir, Nancy Lublin, and Julia Steers.
Glaysher. Copyright © 1966 by Robert Hayden. Used by
Copyright © 2010 by Do Something, Inc. Workman
permission of Liveright Publishing Company.
Publishing Company, Inc. New York.
“Grant and Lee: A Study in Contrasts” by Bruce Catton
“Wangari Maathai” from BBC News Profile. Copyright
from The American Story, edited by Garet Garrett.
© 2004 BBC News.
Copyright © 1955. Chicago: Regnery Publishing.
“About Freerice.com” from freerice.com. Copyright ©
“Harrison Bergeron” from Welcome to the Monkey
2007-2014 World Food Programme.
House by Kurt Vonnegut. Copyright © 1950, 1951,
1953, 1954, 1955, 1956, 1958, 1960, 1961, 1962, 1964, “Free Rice Online Quiz Game” from gamesforchange.
1966, 1968 by Kurt Vonnegut, Jr. Dial Press Trade org. Copyright © 2014 Games for Change.
© 2014 College Board. All rights reserved.

Paperbacks, imprint of Random House Publishing “Famine as a Weapon: It’s Time to Stop Starvation in
Group, Random House, Inc. Sudan” by George Clooney and John Prendergast from
“Banned Books Week: Celebrating the Freedom to Read” TIME Magazine (December 8, 2011). Copyright © 2011
from American Library Association. Copyright © 2012. Time, Inc.
“Private Eyes” by Brooke Chorlton. Used by permission. “Made You Laugh” by Marc Tyler Nobleman, Weekly
Reader, issue 15:6. Special permission granted by
“Parents Share Son’s Fatal Text Message to Warn Against
Weekly Reader, published and copyrighted by Weekly
Texting and Driving” from MSM News. Copyright ©
Reader Corporation. All rights reserved. Reprinted by
2013 The Associated Press.
permission.
“The Science Behind Distracted Driving” from KUTV.
From “Brothers” by Jon Scieszka. Copyright © 2005 by
Copyright © 2013 Sinclair Broadcasting Group.
Jon Scieszka. Reproduced by permission of the author.
“How the Brain Reacts” by Marcel Just and Tim Keller
“I’ve got a few pet peeves about sea creatures” by Dave
The New York Times (online). Copyright © 2009 New
Barry from New York Daily News (May 22, 2009).
York Times Company.
Copyright © 2009 New York Daily News.
From Night by Elie Wiesel, translated by Marion Wiesel.
“Underfunded Schools Forced to Cut Past Tense from
Copyright © 1972, 1985 by Elie Wiesel. Translation
Language Programs” from The Onion (November 30,
copyright © 2006 by MarionWiesel. Published by Hill
2007). Copyright © 2007 The Onion.
and Wang, a division of Farrar, Straus and Giroux.

Credits 367
“They Have Yarns” by Carl Sandburg from The People,
Yes. Copyright © 2936 by Harcourt, Inc. Copyright
renewed 1964 by Carl Sandburg.
“Mooses” by Ted Hughes from Collected Poems,
published by Farrar, Straus, Giroux. Copyright © 2003
by The Estate of Ted Hughes. Originally published in
2003 by Faber and Faber, Ltd., Great Britain.
“Is Traffic Jam Delectable?” from It’s Raining Pigs &
Noodles by Jack Prelutsky. Text copyright © 2000 by
Jack Prelutsky. Used by permission of HarperCollins
Publishers.
From “Fear Busters—10 Tips to Overcome Stage
Fright!” by Gary Guwe from WordPress.com. Copyright
© 2007 by Gary Guwe.

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368  SpringBoard® English Language Arts Grade 8